Podcasts about cooper hewitt museum

We meet Alev Ebüzziya Siesbye (b. 1938, Istanbul, TR) is a ceramic artist known for her refined, monochrome stoneware bowls, which she has been producing for nearly sixty years. Working with the ancient coiling technique and a traditional wooden kick wheel, Ebüzziya Siesbye creates vessels that bear the intimate marks of her hand, balancing density and spaciousness, firmness and fragility. Fired at high temperatures, her bowls possess a stone-like solidity, while their sharp-edged lips and small, recessed bases lend them an impression of levitation. Though often unadorned, some pieces feature delicate horizontal lines along the rim to, as the artist describes, “prevent them from lifting off the ground.”Ebüzziya Siesbye studied sculpture at the Istanbul State Academy of Fine Arts before working at ceramic studios in Höhr-Grenzhausen, DE, and Istanbul. In 1963, she moved to Denmark to join the Royal Copenhagen Porcelain Manufactory, later founding her first independent studio in Copenhagen in 1969. She has lived and worked in Paris since 1987. She has been awarded many honors, including the 2022 Danmarks Nationalbank's Anniversary Foundation Honor Award and the Aydın Doğan Award, and her work has been the subject of retrospective exhibitions at the Museum of Turkish and Islamic Arts, Istanbul (TR), and the Museum of Decorative Arts, Copenhagen (DK).Ebüzziya Siesbye's ceramics are held in numerous museum collections, including the Cooper-Hewitt Museum, New-York (NY); the Victoria and Albert Museum, London (UK); the Los Angeles County Museum of Art (CA); Musée des Arts Décoratifs, Paris (FR); Museum Boijmans Van Beuningen, Rotterdam (NL); the Museum of Decorative Arts, Copenhagen (DK); the Nationalmuseum, Stockholm (SE); the Royal Scottish Museum, Edinburgh, (SCT); and the Museum of Fine Arts, Houston (TX), among others.Follow @Salon94 on Instagram.Alev's current solo show ‘Vibrations' which runs in New York at Salon 94 until 8th August 2025, address 3 East 89th Street: https://salon94.com/exhibitions/alev-ebuzziya-siesbye-vibrations Hosted on Acast. See acast.com/privacy for more information.

Joe Wright is Co-Founder, Director, and Chief Creative Officer at Sibling Rivalry, a New York and Los Angeles-based brand studio and production company infusing insight with imagination to drive brand, business, and culture. We discussed all of this and more this week on the On Brand podcast. About Joe Wright Joe Wright is Co-Founder, Director, and Chief Creative Officer at Sibling Rivalry, a New York and Los Angeles based brand studio and production company infusing insight with imagination to drive brand, business, and culture. Joe is a meticulous craftsman, who designs every detail to impact the greater story of his films. As a co-founder and chief creative officer of Sibling Rivalry, Joe's work brings the audience on a journey of striking imagery and authentic storytelling. He's collaborated with brands such as Cadillac, Calvin Klein, Samsung, and HPE. He has won numerous industry awards and accolades, directed Super Bowl campaigns, and he has work that is featured in the permanent collection of the Cooper Hewitt Museum in New York. From the Show What brand has made Joe smile recently? Joe said he would be unabashedly self-promotional (LOL!) and share Sibling Rivalry's recent work for the steaming service Philo, which brings smiles to faces both internally and externally. Connect with Joe on LinkedIn and the Sibling Rivalry website. As We Wrap … Listen and subscribe at  Apple Podcasts, Spotify, Amazon/Audible, Google Play, Stitcher, TuneIn, iHeart, YouTube, and RSS. Rate and review the show—If you like what you're hearing, be sure to head over to Apple Podcasts and click the 5-star button to rate the show. And, if you have a few extra seconds, write a couple of sentences and submit a review to help others find the show. Did you hear something you liked on this episode or another? Do you have a question you'd like our guests to answer? Let me know on Twitter using the hashtag #OnBrandPodcast and you may just hear your thoughts here on the show. On Brand is a part of the Marketing Podcast Network. Until next week, I'll see you on the Internet! Learn more about your ad choices. Visit megaphone.fm/adchoices

Show Notes:00:50 - The Weekend Quilter00:54 - Australia00:55 and 1:18 - New York02:05 - Cambridge, Massachusetts03:05 - Canberra04:41 and 4:42 - Australia04:55 - New York05:26 - Amy's Creative Side06:04 - Upper West Side6:21 and 6:25 - QuiltCon06:40 - Central Park07:22 - Anna of Wax and Wane Studio09:32 - PreQuilt (Listen to episode 4 to learn more about Laura and PreQuilt)09:39 - Aurifil Thread (Listen to episode 94 to learn more about the company)10:18 - New York13:13 - Quilt Buz Bingo13:42 - Amanda and Wendy reading out the bingo numbers for Quilt Buzz Bingo 2021 16:20 - Wendy's first book, Urban Quilting21:59 - Bravo TV22:00 - TLC22:17 - Mozart operas22:23 - Don Giovanni 22:24 - Marriage of Figaro22:38 - Real Housewives of Salt Lake City23:13 - Improv quilting23:28 - Bias binding strips23:42 - Pre created bias binding strips24:07 and 24:11 - Log cabin24:33 - Triangle Multiplier quilt pattern by The Weekend Quilter25:10 - Foundation paper piecing25:36 - Zirkel magnetic pin cushion26:46 - Amanda's 2023 30 days of Improv Quilt27:12 - Sweet Notes block series for Valentine's Day by The Weekend Quilter29:26 - Tipsy Tessie (@tipsytessie)29:41 - Matchy Matchy Sewing Club (@matchymatchysewingclub)30:11 - Jollie Ollie Designs (@jollieolliedesigns)30:56 - Logo Archive (@logoarchive)31:24 - Cooper Hewitt Museum (@cooperhewitt)31:26 - New York31:44 - Fab Scrap (@fab_scrap)Follow Us:Amanda: @broadclothstudio https://broadclothstudio.com/Wendy: @the.weekendquilter https://the - weekendquilter.com/Quilt Buzz: @quilt.buzzhttps://quiltbuzzpodcast.com/Intro/Outro Music:Golden Hour by Vlad Gluschenko

On Making Peace Visible we usually focus on stories -- narratives about peace and conflict that are told in the news, on social media, and shared in our collective zeitgeist. We've seen examples of how storytelling can both stoke the fire of war and encourage peaceful dialogue. In this episode, we look at a different, but related way of creating space for peace: design. Our guest Cynthia Smith is the Curator for Socially Responsible Design at the Smithsonian Cooper Hewitt Museum in New York City. She spent five years creating the remarkable exhibition Designing Peace, which includes 40 design proposals, initiatives and interventions from 25 countries, including maps, images, textiles, video games and film.From a teeter-totter installed on the US-Mexico border fence to a crowd-sourced reimagining of war-damaged Damascus, the works in Designing Peace coupled with Smith's vision present a world of possibility. Designing Peace is on view at the Museum of Craft and Design in San Francisco through February 4, 2024. Explore the virtual exhibit here. Purchase the beautiful companion book here. RATE AND REVIEW: In Apple Podcasts on iPhone Tap on the show name (Making Peace Visible) to navigate to the main podcast pageScroll down to the "Ratings and Reviews" sectionTo leave a rating only, tap on the starsTo leave a review, tap "Write a Review"In Spotify(Note: Spotify ratings are currently only available on mobile.)Tap on the show name (Making Peace Visible) to navigate to the main podcast pageTap on the star icon under the podcast description to rate the showIn Podcast Addict(Note: you may need to sign in before leaving a review.)From the episode page: On the top left above the show description, click "Post review."From the main podcast pageTap "Reviews" on the top left.On the Reviews page,  tap the icon of a pen and paper in the top right corner of the screen.ABOUT THE SHOWMaking Peace Visible is produced by Andrea Muraskin and hosted by Jamil Simon. Faith McClure writes our newsletter and designs our website. Creative direction by Peter Agoos. Music in this episode by Xylo-Ziko, Doyeq, and Blanket Music. Sign up for our newsletter to be notified when episodes come out and learn more about our guests: warstoriespeacestories.org/contact. You can get in touch with us at jsimon@warstoriespeacestories.org, or on X @warstoriespeace. We're also on LinkedIn. 

'What's left to do? To keep people interested in old art. To make that art interesting and relevant. Perhaps relevant isn't the right word… But if you look at the art market; the biggest money, right now, is in modern and contemporary art. You see it in auction houses, too. The content of the sales is different than it was 20 years ago. Old Masters remain a challenge. But then, you'll get a Vermeer exhibition, like at the Rijksmuseum—where the tickets sell out on the second day. And so I'm optimistic about the future, when it comes to the Old Masters.' —Jane Turner For the thirteenth episode of ‘Dutch Art & Design Today', I sat down with Jane Turner; an editor, scholar, specialist in Dutch and Flemish Old Master drawings and prints, the former Head of the Print Room at the Rijksmuseum in Amsterdam, and has been the Editor in Chief of journal Master Drawings—covering Old Master drawings—since 2004. Jane studied art history at Smith College in Northampton, Massachusetts, and quickly found her way to working at the college's art museum. She studied in Paris for a year while at Smith, refining her eye and interests in Old Master art; and after graduation, decided to move to Manhattan, where she worked at the Cooper Hewitt Museum and the Morgan Library, where she began specializing in Netherlandish drawings of the sixteenth and seventeenth centuries. During her museum days in New York, she became known for compiling catalouges of collections, imbuing her with editorial expertise, particularly concerning hefty tomes. In the late-1980s Jane moved to London, where she worked for over a decade on the 36-volume Dictionary of Art; a powerhouse of a print publication, the likes of which will never be produced again, and which itself, was progressive in its approach to global art. In 2011 Jane was appointed Head of the Print Room at the Rijksmuseum, retiring from it in 2020. Through her work, Jane's become a globally renowned museum scholar and connoisseur of Netherlandish drawings. In this meanderingly playful talk, Jane and I discuss the course of her career and trace its origins from her hometown of Cincinnati, Ohio—where I was, coincidentally, also born; to her youth spent in Cleveland, and what life was like in terms of her early-exposure to museums and modern art; and then move on to discuss some of the ideas and subjects she was interested in as a student. Jane spends a large portion of our conversation underlying the importance of mentorship within her work and discusses some of the programs and initiatives she has put in place, which advocate for the advancement of young scholars of drawings and prints. While at the Rijksmuseum, Jane was responsible for leading numerous digital catalogue projects that made the print room's drawings digitally accessible, with full descriptions, technical research and provenance information. She also was responsible for innovative exhibitions put on by the print room, including one titled 'XXL', which featured eccentric, huge works on paper, and another titled 'Frans Post. Animals in Brazil', which saw plush insects 'overtake' the museum. Lastly, Jane ponders what the future holds for Old Master drawings and museums—and indeed, is hopeful for both.  You can learn more about the Rijksmuseum's Print Room over on their website. You can find John on X @johnbezold and at his website johnbezold.com. 'Dutch Art & Design Today' is published by Semicolon-Press.

In this episode, we talk about what a body can do and how we meet the built world. Sara Hendren is an artist, design researcher, writer, professor at Olin College of Engineering, and the creator and host of the Sketch Model podcast. She is the author of What Can A Body Do? How We Meet the Built World, published by Riverhead/Penguin Random House. It was chosen as a Best Book of the Year by NPR and won the Science in Society Journalism book prize. Sara is a humanist in tech. Her work of 2010-2020 includes collaborative public art, social design, and writing that reframes the human body and technology. Her work has been exhibited on the White House lawn under the Obama administration, at the Victoria & Albert Museum, the DOX Centre for Contemporary Art, The Vitra Design Museum, the Seoul Museum of Art, among other venues, and is held in the permanent collections of the Museum of Modern Art and the Cooper Hewitt Museum. She has been a National Fellow at the New America think tank, and her work has been supported by an NEH Public Scholar grant, residencies at Yaddo and the Carey Institute for Global Good, and an Artist Fellowship from the Massachusetts Cultural Council. At Olin, she was also the Principal Investigator on a four-year initiative to bring more arts experiences to engineering students and faculty, supported by the Mellon Foundation. Episode mentions and links: https://sarahendren.com/ Sketch Model Podcast Engineering at Home AccessibleIcon.org When The World Isn't Designed For Our Bodies via NYT Restaurants Sara would take you to: Clover Food Lab Follow Sara: LinkedIn Episode Website: https://www.designlabpod.com/episodes/115

EntreArchitect Studio is a series of special bonus episodes where Mark invites inspiring, passionate people to share their knowledge and information about the building products and services to help you build better buildings.This week at the EntreArchitect Studio we are featuring:Scan2Plan - V. Owen BushV Owen Bush is a creator and entrepreneur who uses immersion and participation to create transformative social experiences. His works are presented in venues such as live events, music festivals, digital planetaria, IMAX3D, broadcast television, mobile devices, VR and the web. Owen is a pioneer in interactive, experiential and immersive design with early projects including: Pseudo.com, MTV's Amp, QUIET!/We Live In Public, SonicVision at the Hayden Planetarium, and the Molecularium Project at Rensselaer.As a freelance motion designer, Owen has developed broadcast television promos for NBC, MTV, VH1, PBS, Nickelodeon, Showtime, Discovery, History Channel, NY1, and others.Owen is the director & CEO of Glowing Pictures, a visual experience company that collaborates with cultural institutions, performing artists and brands to create Immersive Wonder. Glowing Pictures' collaborations include: Google, Twitter, Wired Magazine, American Museum of Natural History, Canon Camera, Paramount Pictures, Dubspot, Eyebeam, Pitchfork, Flavorpill, MTV Networks, The New Museum, Beatport and the Cooper-Hewitt Museum.In 2015, Owen co-founded DaydreamVR, later SpaceoutVR, Inc. a mobile Virtual Reality software company. Spaceout.VR is a free to play Social VR MMO for iOS & Android. In 2018 SpaceoutVR was acquired by ValueSetters.In 2018 Owen co-founded Hudson Virtual Tours and then Scan2Plan, Inc. in 2020. We began with a simple goal of helping architects & engineers focus on design. We're the company that does what it says on the tin, an on-demand LiDAR to BIM/CAD team that can model any building in weeks. This can be done within any scope, budget or schedule.This week at EntreArchitect Studio Podcast, Scan2Plan with V. Owen Bush.Learn more at Scan2Plan, and find Owen on LinkedIn.Please visit Our Platform SponsorsDetailed is an original podcast by ARCAT that features architects, engineers, builders, and manufacturers who share their insight and expertise as they highlight some of the most complex, interesting, and oddest building conditions that they have encountered... and the ingenuity it took to solve them. Listen now at ARCAT.com/podcast.Freshbooks is the all-in-one bookkeeping software that can save your small architecture firm both time and money by simplifying the hard parts of running your own business. Try Freshbooks for 30 days for FREE at EntreArchitect.com/Freshbooks.Visit our Platform Sponsors today and thank them for supporting YOU... The EntreArchitect Community of small firm architects.EntreArchitect + GraphisoftArchicad BIM software enables design, collaboration, visualization, and project delivery, no matter the project size or complexity. With flexible licensing options and a dedicated support team to guide us along the way, Archicad is an ideal choice for firms and projects of any size. Visit our dedicated landing page...

Guest of this appointment is the American architect Rick Joy, renowned for his climate responsive and landscape sensitive works. Originally from Maine, after studying and performing music for years as a professional drummer, he moved to study architecture at the University of Arizona,working after his degree in Phoenix, at the office of Will Bruder, a special, inspiring architect, particularly attentive to sustainability, who was a student and then an apprentice of Soleri at his Cosanti studio. In 1993, fascinated by the desert of Arizona, Rick Joy decided to stay permanently in Tucson, establishing his own practice Studio Rick Joy, SRJ. His first projects, mainly local residences in the Sonoran Desert, essential sculptural signs cohabitating with the flora and fauna of the context, have almost immediately gained global attention for their conceptual and sustainable approach. Ultra-luxury resorts and residences followed over the years in the most enchanting and pristine corners of the world, from the mountains in Idaho, the forests in Vermont, to the desert in Utah, or along the Pacific Coast in México, and his intimate encounter with nature has continued to transmit with generosity breathtaking experiences.Visiting professor at the Harvard Graduate School of Design, Rice University, University of Arizona and MIT, he is extensively lecturing. He has received prestigious international recognitions, as the 2002 American Academy of Arts and Letters Award in Architecture, the National Design Award from the Cooper-Hewitt Museum 2004, inducted in 2019 into the Interior Design Hall of Fame. His realizations, awarded and featured in international publications, are collected in two dedicated monographs, the recent “Studio Joy Works” and “Desert Works”, with introduction of Juhani Pallasmaa and foreword of Steven Holl.The conversation opens, recalling an important decision that saw him leave his music career and his home-town, in the heart of Maine, to study architecture at the University of Arizona, in Tucson, a totally opposite, far away city, in the Southwest of the country.The encounter with an absolutely new environment, so powerfully inspirational in its natural manifestations, as the desert, has provoked a visceral connection translated by an architecture that, according to the famous critic Juhani Pallasmaa, privileges the verb over the noun, letting the place determine and dictate the choices. The Tucson Mountain House, one of Rick Joy's exemplar houses, a small one-family residence, set in a site of the desert surrounded by mountains, embraces in its apparent simplicity and rigorous selection of materials all those features, that evolved over time, have remained consistent with the concept of deep respect and close, mutual exchange between architecture and nature.We focus on his capability to transcend materiality, supporting more abstract experiences: all his houses, skillfully integrated into the natural setting, seem attuned to specific performances, evoking, through sensory inputs and constantly changing effects of light, emotional narrations connected with the place. We deepen the Desert Nomad House that, with its three boxes wrapped in Corten steel emerging from the earth, visualises a story of desert-abandonment made of rusty remains scattered here and there, and Tubac House, an almost atmospheric stage.His studio, in a historic barrío of Tucson, anticipated with a sort of tension in crescendo, familiar to a drum player, represents with the special atmosphere he has been able to create another beautiful story, enriching the working environment with inspiration and intimate serenity every day.The alchemy of his hospitality vocabulary, from Amangiri Resort, cradled in a secluded, untouched valley of a canyon in Utah and perfectly camouflaged with the striated Rocky Mountains on the backdrop, to the new, recent One&Only Mandarina, perched on the cliffs along a one-mile pristine beach in Riviera Nayarit, Mexico, with their deliberate simplicity, and obsessive dedication to an absolute integration with pristine, spectacular contexts, constitutes another captivating subject, for the unforgettable experiences they reserve.From virgin coasts and verdant wide expanses, we move to the crowded urban reality of Mexico City, where Tennyson 205, a five-story apartment building, stands with its interesting carved like sculptural facade and sleek external clean-lined concrete structure, reserving, despite the elegant but severe exterior, an abundant vegetated inside, with lush courtyard gardens and planters boxes, authentic luxury, for the architect that can't be renounced.We touch then an important public experience, Princeton Transit Hall and Market, part of the redevelopment of Princeton University's campus in New Jersey, an elegant statement that above linking past and present, is representing an extremely successful, inclusive gesture, with great satisfaction of the author. We conclude with that particularly generous and rewarding relation he loves to entertain and cultivate with his international team of young people, coming from the most diverse parts of the world.

In this HCI Podcast episode, Dr. Jonathan H. Westover talks with Rodney Evans about adaptive organization design and the future of work. Rodney Evans (https://www.linkedin.com/in/rodneyeevans/) is a pioneer in adaptive organization design and the future of work. With 20 years of experience in all things transformation, she has researched, developed, and taught new ways of working in dozens of complex environments including Airbnb, Cooper Hewitt Museum, Macy's, Intuit, and Johnson & Johnson. The Ready is a self-managed change agency that helps you discover a better way of working. Rodney works with companies around the world to modernize traditional practices and bust bureaucracy. Please consider supporting the podcast on Patreon and leaving a review wherever you listen to your podcasts! Check out BELAY here. Check out Backblaze at www.backblaze.com/hci. Head over to setapp.com/podcast to listen to Ahead of Its Time. Check out BetterHelp.com/HCI to explore plans and options! Go to cardiotabs.com/innovations and use code innovations to get a free Mental Health Pack featuring Cardiotabs Omega-3 Lemon Minis and Curcumin when you sign up for a subscription. Check out Zapier.com/HCI to explore their business automations! Check out the HCI Academy: Courses, Micro-Credentials, and Certificates to Upskill and Reskill for the Future of Work! Check out the LinkedIn Alchemizing Human Capital Newsletter. Check out Dr. Westover's book, The Future Leader. Check out Dr. Westover's book, 'Bluer than Indigo' Leadership. Check out Dr. Westover's book, The Alchemy of Truly Remarkable Leadership. Check out the latest issue of the Human Capital Leadership magazine. Each HCI Podcast episode (Program, ID No. 592296) has been approved for 0.50 HR (General) recertification credit hours toward aPHR™, aPHRi™, PHR®, PHRca®, SPHR®, GPHR®, PHRi™ and SPHRi™ recertification through HR Certification Institute® (HRCI®). Learn more about your ad choices. Visit megaphone.fm/adchoices

Rodney Evans is a pioneer in adaptive organization design and the future of work. She has taught new, better ways of working in dozens of complex environments—including Airbnb, Macy's, GE, Cooper Hewitt Museum, Intuit, and Johnson & Johnson—to slay bureaucracy, unleash talent, and modernize traditional workplaces and practices.    To join the CultureBrained Community, go to tiny.one/culturebrained

What you'll learn in this episode: The history of Metalsmith magazine, and why it maintains its name even as its scope has expanded beyond metals How SNAG has made efforts to diversify the voices in Metalsmith and open the organization to new members What type of content Adriane looks for as an editor, and how you can pitch ideas to her What changes need to be made in the jewelry industry to make it more equitable Why being a curator and being an editor aren't so different About Adriane Dalton Adriane Dalton is an artist, writer, and educator based in Philadelphia, PA. She is the editor of Metalsmith, the magazine published by the Society of North American Goldsmiths (SNAG). She was formerly the Assistant Curator and Exhibitions Manager at the Nora Eccles Harrison Museum of Art (NEHMA) in Logan, Utah, where she co-curated “ARTsySTEM: The Changing Climate of the Arts and Sciences” and taught History of American Studio Craft, among many other curatorial and educational projects.  She holds an MA in the history of decorative arts and design from Parsons The New School for Design (2014), and a BFA in craft and material studies from the University of the Arts (2004). Her work has been exhibited nationally and internationally at Contemporary Craft (Pittsburgh, PA), The Wayne Art Center (Wayne, PA), Snyderman-Works Gallery (Philadelphia, PA), A CASA Museu de Object Brasileiro (Sao Paulo, Brazil), the Metal Museum (Memphis, TN), and Space 1026 (Philadelphia, PA). Additional Resources: SNAG Website Adriane's Instagram Photos: Recent Metal Smith Covers Transcript: Adriane Dalton took a meandering path to become editor of Metalsmith, the Society of North American Goldsmith's (SNAG) quarterly magazine, but her background as a maker, her work as a curator, and her education in the history of craft has only helped her hone her editorial skills. She joined the Jewelry Journey Podcast to talk about the overlaps between making, curating and editing; what she looks for when selecting work for the magazine; and why it's important we not just talk about objects and the people who make them, but the conditions in which people make them. Read the episode transcript here.  Sharon: Hello, everyone. Welcome to the Jewelry Journey Podcast. Today, my guest is Adriane Dalton, editor of Metalsmith Magazine published by SNAG, the Society of North American Goldsmiths. The publication is designed to keep makers, jewelers and other artists in the field informed about important issues and people in their creative field. Adriane, welcome to the program. Adriane: Hi, it's wonderful to be here. Sharon: So glad to have you. I'm really looking forward to hearing all about this. I've been reading the magazine for so long. Tell us about your own jewelry journey. Were you a maker? How did you get into this? Did you come to it through journalism or the arts? Adriane: I came to it through the arts. I do not have a journalism background. I actually have a BFA in craft and material studies from the University of the Arts in Philadelphia, which is where I now live again after being in a lot of other places over the years. That craft and material studies program was my first introduction to jewelry making and to the contemporary jewelry field as we know it and as represented by SNAG and Metalsmith. Prior to that, I think my conception of jewelry was limited to the standard things you would see in the mall. That program was my gateway to the field. Sharon: Is that what you wanted to do when you came to study crafts and material arts? Did you think you'd be doing jewelry? Were you going to do fine art? Adriane: When I started undergrad, I had intended to be a photography major or potentially a glassblower. You have this first, foundational year of art school where you get to try different things out, and then you have to decide what your major is. I decided that in order to try to blow glass and work with my hands, I would need to be in the glass department. You couldn't major in glass at the time, so you had to pick a different focus area and then you could take classes in the glass department. So, I became a jewelry major sort of incidentally. I've always enjoyed working with my hands and making physical objects, so it ended up being a good fit for me. While I was there, I studied with Sharon Church, Rod McCormick and Lola Brooks, who were all teaching in the program at the time. That was my introduction to jewelry as an art form, not just as a piece of adornment. Sharon: So, you weren't third grade thinking, “I want to make jewelry.” Adriane: No. Sharon: When you graduated, were you making? How did it come about that you're now editing a publication? Adriane: It's been a meandering path, honestly. I graduated with my BFA with a focus in jewelry and metals. I was interested in enameling, and I did a lot of enamel work. When I finished undergrad, I had a studio and I worked on some small production lines. I worked on one-of-a-kind work, but I also needed to have a job to support myself beyond that, and I found out very quickly that I didn't like making production work. It wasn't what I wanted to do to support myself or express myself creatively. For about eight years, I worked in an office job and had a studio space. I was involved in some community arts organizations here in Philadelphia and maintained my own creative practice during that time.  It was almost 10 years after I had graduated from undergrad that I decided to go to grad school. I was interested in studying the field of craft more broadly, not just jewelry itself, so I enrolled in the joint program between Cooper Hewitt Museum in New York and Parsons. At the time, it was called History of Decorative Arts and Design. I believe the program is now History of Design and Curatorial Studies. I went into the program hoping to have a more formalized and research-based approach to thinking about craft. Sharon: Wow! That must have been exciting to be in New York and studying at such premier schools. Were you going to do research? Did you want to go into museums? What did you think you might want to do? Adriane: I was 30 at the time when I started grad school, and I had enough time after undergrad to figure out some of the things I didn't want to do. I considered going and receiving an MFA. I toyed with that idea a bit, and I decided I wanted to try to have a career that would allow me to use my creative mind in the work, but that would hopefully feed into my creative practice in some way while also supporting me. I had a curatorial focus when I was in grad school, and I had some fellowships in the Cooper Hewitt Product Design and Decorative Arts Department under Sarah Coffin when she was still curator there; I think she's since retired. I also was the jewelry intern under Alice Newman at the Museum of Arts and Design while I was in grad school. Those two experiences opened up possibilities for me to engage with the field in a way I hadn't prior to grad school. Sharon: Wow! Some really important people that were mentors or teachers. How did it come about that you're now at Metalsmith Magazine? Adriane: After grad school, I actually moved to Utah from New York, to a small town in northern Utah where I was the assistant curator of an art museum there, the Nora Eccles Harrison Museum of Art, which at the time had some exhibitions that were craft-centric. I came on to help with some of that. They have a fantastic ceramics collection. Ceramics is not my focus area, but having a broad generalization in craft, I can sort of move between materials. So, I was in Utah for a few years working as a curator. Then I moved back to the East Coast, to Richmond. I was working at the Virginia Museum of Fine Arts in their education department doing programming.  The way I came to be the editor of Metalsmith was a fluke in a lot of ways. I had applied for a different position at SNAG at the time that was educationally focused. I had a couple of interviews, got along really well with the executive director at the time, Gwynne Rukenbrod Smith. A few months later, she reached out to me and said, “Hey, our editor, Emily Zilber, is leaving, and I need someone to come in on an interim basis and keep things going until we figure out what we are going to do with the position and the magazine. Is this something you'd be interested in and capable of?” I said, “Yes, sure.” I came on thinking it would be potentially a six-month arrangement and then I would go on doing museum education, which is what I was doing. It ended up working out and I was invited to stay on, and so here I am. Sharon: Wow! Tell us about Metalsmith and what you want to do with it, what its purpose is, that sort of thing. Adriane: Sure. Metalsmith is one program area of SNAG. For folks who are listening who may not be familiar with SNAG, SNAG is the Society of North American Goldsmiths. It's a 50-year-old—well, I think it's 51 years old now—organization that's an international member-based organization. We are a 501(c)(3) nonprofit. Our member base is predominantly a variety of metalsmiths, jewelers, other folks who maybe don't consider themselves jewelers but use the body as a flight for expression, production studio jewelry artists, teachers, historians, curators, collectors, gallerists and writers. Our member focus is North America, but we do have members and subscribers all over the world. Metalsmith fits into SNAG in the sense that as a program area, it helps SNAG fulfill part of its mission statement, which is to advance the field of jewelry and metalsmithing and to inspire creativity, encourage education and foster community. Before it was Metalsmith, SNAG had three other publications. It started as a newsletter in the early days, and then it became Gold Dust. Then it was, I think, Goldsmith's Journal. Metalsmith was established in 1980. So, we are now in our 41st year of publication. Sharon: Did it become Metalsmith because—I'm a member of SNAG and I really like it, but I've only met maybe one goldsmith. Is that what happened there, going from Gold Dust to Metalsmith? Adriane: I think so. I'm not privy to all the early decisions of how the magazine was established and run, but I think choosing Metalsmith was to be more inclusive of the field at that time. Now, of course, one of the critiques I hear sometimes from members and other folks in the field is that Metalsmith doesn't always have that much metal in it. Sharon: That's true, yes. Adriane: That is true. That is, I think, indicative of the shifts in interdisciplinarity and shifts in thinking about materials that are appropriate for these forms that have happened over the past 20 or 30 years in the field. There have been times when people have said, “Well, they should change the name to something else,” but it still fits in a lot of ways. The word “smith” in and of itself points to the action that is involved. For me and how I think about the magazine and the work that's in the magazine, it doesn't necessarily matter what the material is; it's more about the approach and the context in which the maker is putting it out into the world. Sharon: How are you choosing the subjects? There are so many different areas now. I think of plastics; I think of wood; I think about all different kinds of crafts and jewelry. How do you choose the issues and writers you put in the publication? Adriane: I take pictures and proposals. Anyone listening to this podcast, anyone out there can send me an email or get in touch with me to propose any idea they have for an article or an artist they want to cover, things like that. It's a combination of taking proposals from people who reach out to me and me seeking people out who I'm interested in their work or interested in their writing, or me finding someone who I think would be good to write about a particular artist's work. It depends, and it's a mishmash of those things. A misconception I try to dispel any chance I get, and will do so now, is that I have a glut of proposals coming in. Really, a lot of the time I don't, particularly in the past 18 months. During the pandemic, people's focus has been in other directions, as it should be, but it's hard to keep things going if I have to do all the outreach and it's not going in both directions like it should. Sharon: I'm surprised; with everybody at home during lockdown, it seems like it would have been the perfect time for people to be writing or pitching or proposing or thinking about it at least. Adriane: Yeah, it is a combination of things. I do have people who reach out to me who I may or may not be familiar with. I'm really interested in having voices in the magazine that are new to the field or are in the process of establishing themselves as a thinker in the field. One of the ways we have done that in the past two years was through a writing competition that we hosted during our 40th volume, which was the previous volume to the one that's being published now. That was proposed to me by an artist and author, Lauren Eckert, who approached me at SNAG's conference in Chicago, the last in-person conference we held. She said, “What do you think about having a writing contest to get new voices into the magazine?” and I said, “Oh, I think that that's a great idea. Would you want to help me get that together?” She volunteered, and I invited Lauren to join the publication's advisory committee, which is a sounding board and feedback board for the magazine.  We ran the competition and had two awardees, and we published their writing in this most recent volume. In issue 41, we had Jessica Todd's article “Restrung: Contemporary North American Beadsmiths.” In issue 42, we had “Difficult Adornments: Recontextualizing Creative Adornment Through Display” which was by Rebecca Schena. Jessica was the New Voices award winner and Rebecca was the runner up, but we couldn't narrow it down to just one because there were so many great submissions. It was very hard to pick them.  Sharon: In terms of issues, what issues are really close to you, important to you? What issues do you see in the field? It's a few months old now, but I was looking at one of the publications about Black jewelers and inequality in the field, and I thought, “Well, that's not a namby-pamby issue; it's right out there and you're not afraid to discuss those kinds of things.” Adriane: Yeah, something that is important to me and has become extremely necessary as the world has shifted so much in the past 18 months is to not just create content in a vacuum, but to have the work and the voices in the magazine truly be representative of what is going on in the field. Some of that includes acknowledging ways the field of jewelry and metalsmithing replicates other systemic racist structures that exist in American society. To speak to the bigger picture for how I think about the content of the magazine—and this also predates the pandemic, but the pandemic has made me more firm in this—is that it's important to not just talk about objects and the people who make them, but to talk about the conditions in which people make them. That is especially relevant now that the world has been the way it has been for the past 18 months and we are all more acutely aware of a lot of things than perhaps previously. Sharon: That's a good point, in terms of picking up a publication or going online and saying, “What are the pretty pictures?” or “What are the creative objects?” You also mentioned in one of your notes from the editor—it must be a challenge to come with that every month, in terms of pithy subjects—you wrote that for some, the process of growth is discomfort. How does that manifest itself? Do you see it manifesting in SNAG's members, for example? Adriane: I don't know if I can speak to how it manifests for our members. I will say SNAG has a diverse membership. When I'm making the magazine, I'm making it not only for SNAG's membership, but we also have some people who subscribe but aren't SNAG members, and the magazine is on newsstands. So, I'm trying to think broadly whenever possible. As far as that particular letter from the editor, some of the content in that issue—which includes that essay by Rebecca Schena that I mentioned before—but it also includes the piece you alluded to, which is by Valena Robinson Grass, “Moving Beyond Acknowledgment: Systemic Barriers for Black American Metalsmiths.” There's another article in there by Leslie Boyd about how white educators can be more attentive to the ways their students are showing up in the structure of academia. As I'm talking, I'm getting further and further away from answering your question, but— Sharon: No, I don't get that impression. Adriane: I think that, much like a lot of other things that have happened in the past 18 months, there needs to be some amount of reflection and reckoning in parts of the jewelry field that have been predominantly white spaces and reflecting upon why that is, and thinking about how you can claim to value diversity and inclusivity and equity. You can say those things and you can mean them, but unless you're willing to do the reflection and make some changes, then it's meaningless; it's empty. We will have images posted on the website. You can find us wherever you download your podcasts, and please rate us. Please join us next time, when our guest will be another jewelry industry professional who will share their experience and expertise. Thank you so much for listening. Thank you again for listening. Please leave us a rating and review so we can help others start their own jewelry journey.

Dara Caponigro is the Chief Creative Officer of F. Schumacher & Co. and Creative Director of Schumacher. F. Schumacher & Co. is a 131-year-old American company that comprises both Schumacher, the luxury fabric and wallcovering house, and Patterson Flynn Martin, the prestigious rug firm. Caponigro directs and oversees product development, digital and print marketing, PR and events, licensing, the Schumacher blog and visual merchandising. She is also Editor in Chief of Schumacher’s luxury design magazine, Frederic. Caponigro is the author of The Authentics, which delves into the lives and homes of original trailblazers in the creative world as well as Domino, the Book of Decorating, a NY Times bestseller. Her most recent book S Is for Style: The Schumacher Book of Decoration celebrates the limitless possibilities of decorating and helps readers identify their personal style. Prior to joining Schumacher, Caponigro held many illustrious positions as a magazine editor, specializing in interior design and architecture. Most recently, Caponigro was the Editor-in-Chief of Veranda, establishing it as a global luxury brand. During her tenure, which coincided with both a recession and a decline in overall magazine readership, both Veranda's newsstand sales and advertising revenue increased by double digit percentages. Caponigro was also a founding editor of domino where she was Style Director from 2004 to 2009. She also held the positions of Design and Decoration Director at Elle Decor and Decorating Director at House Beautiful. She began her career at The Cooper-Hewitt Museum. Caponigro is known for her ability to develop and invigorate brands, whether it’s breathing new life into existing companies or building them from scratch. With her discerning eye and uncanny ability to know her audience, she is able to dissect a property’s assets, give it a distinct personality, and evolve it to its full potential. Caponigro holds a BA from Barnard College where she graduated Phi Beta Kappa. She lives in the Bronx with her husband, David Steinberger, and their two children, Sofia and Stefan. Their homes have been published in House Beautiful, Elle Decor, Veranda, domino, The Wall Street Journal, and The New York Times. https://www.instagram.com/dara_caponigro/?hl=en hmoore@fsco.com

Sarah Williams is currently an Associate Professor of Technology and Urban Planning. She also is Director of the Civic Data Design Lab at MIT's School of Architecture and Planning. The Civic Data Design Lab works with data, maps, and mobile technologies to develop interactive design and communication strategies that expose urban policy issues to broader audiences. Trained as a Geographer (Clark University), Landscape Architect (University of Pennsylvania), and Urban Planner (MIT), Williams's work combines geographic analysis and design. Williams is most well known for her work as part of the Million Dollar Blocks team which highlighted the cost of incarceration, Digital Matatus which developed the first data set on an informal transit system searchable in Google Maps, and a more a recent project that uses social media data to understand housing vacancy and Ghost Cities in China. Her design work has been widely exhibited including work in the Guggenheim, the Museum of Modern Art (MoMA), the Cooper Hewitt Museum in New York City. Before coming to MIT, Williams was Co-Director of the Spatial Information Design Lab at Columbia University’s Graduate School of Architecture Planning and Preservation (GSAPP). Williams has won numerous awards including being named top 25 planners in the technology and 2012 Game Changer by Metropolis Magazine. Her work is currently on view in the Museum of Modern Art (MoMA) and the Seoul Biennale Cities Exhibition in Korea.

Back for the new year. For this week's episode, I decided to create a collection of memorable moments from 2020. Honestly, there are too numerous to count. I wanted to capture pieces of conversations that really moved me: Stopped me in my tracks, made me laugh and smile, made me lose my breath.   1. EPISODE 1:  HOW IS COVID19? REPORTS OF GENEVA, LONDON, AND PHILADELPHIAThe stress and anxiety was palpable in this episode. I spoke with a doctor friends one in Eva Niyibizi Geneva, one in London Segun Olusanya, and one here in Philadelphia Jamie Garfield. 2. EPISODE 3:  IS COVID19 INCITING NARRATIVE VIOLENCE?I spoke with two doctors who are also storytellers.  Dr. Emily Silverman founded and hosts the Nocturnists podcast. She has taken story telling and the audio to a whole new level. A highlight of healing for me and what is amazing here is we hear the seeds that were planted for something yet to sprout: After the murder of George Floyd in May 2020, they launched a new audio storytelling series called “Black Voices in Healthcare”, hosted by Ashley McMullen, MD and executive produced by Kimberly Manning, MD 3. EPISODE 9: ASHISH JHA AND MIRIAM LAUFER ON THE CDC + #COVID19 CURRENT EVENTSI laughed with Ashish Jha and Miriam Laufer when we discussed COVID19, the CDC, vaccines were on the horizon and not yet available, and what to do with kids and summer camp. The laugh surrounds the use of the word kerfuffle 4. EPISODE 11: STRUCTURAL RACISM AND THE #COVID19 PANDEMIC AS HEALTH CARE CRISES Hat tip  to Yale school of medicine 4th year student Max Tiako founder and host of @FlipScriptPod podcast covering health disparities in the U.S. & globally.   5. EPISODE 16: SYNDROME KI viewed the film in Miami right before the pandemic shut down everything. Syndrome K is a documentary, which tells the story of three doctors  Adriano Ossicini. Prof Giovanni Borromeo, Vittorio Sacerdoti who saved members of Rome's Jewish community by convincing the Nazis that these Jews were infected with a deadly and contagious disease that the doctors called Syndrome K. In this segment, Dr. Ignazio Marino, a transplant surgeon and former mayor of Rome, shared that his father was deported to a concentration camp.  6. EPISODE 13: ELLEN LUPTON AND ANDREW IBRAHIM : HEALTHDESIGN 101Two well known #HealthDesigners. Andrew is the chief medical officer of HOK's architecture Healthcare group and a general surgeon at the University of Michigan, Ellen is a senior curator at the Cooper Hewitt Museum in NYC and directs the graduate program in graphic design the Maryland Institute of Contemporary Art. Andrew is a general surgeon and They really highlighted the importance of Health Design now and going forward. Take a listen as they explain #HealthDesignNow 7. EPISODE 19: A CULTURE OF SILENCE: PHYSICIAN SUICIDE AND THE DR. LORNA BREEN FOUNDATIONWe paid tribute to the Dr. Lorna Breen and discussed the Lorna Breen Heroes Foundation . If we prioritize the mental health of medical professionals who are caring for some of our most vulnerable patients, and encourage help-seeking behaviors for mental health concerns and substance use disorders by reducing stigma, increasing resources, and having open conversations about mental health- maybe we can change the culture. In this moment Dr. Dan Egan reflects on his memory of Dr. Lorna Breen a colleague and friend who died by suicide in 2020 8. EPISODE 10: PRESIDENT AND CEO #TIMES UP TINA TCHEN ON LEADERSHIP DURING A CRISISI spoke with Tina Tchen, American lawyer Christina M. "Tina" Tchen CEO and President of Time's Up. She was a constant voice of equity and advocacy. Here she speaks on leading during a crisis: What to do 9. EPISODE 12: SENATOR MAGGIE HASSAN AND DR. HIRAL TIPIRNENI: WHY GO INTO POLITICSHere I am in conversation with Senator Maggie Hassan of New Hampshire. Hassan is one of only two women in American history to be elected as both a Governor and a Senator. She was the 81st Governor of New Hampshire, from 2013 to 2017. She has been active and focused during the recent period advocating on topics, such as PPE, Nursing Homes, the Opioid epidemic, Unemployment insurance Paid sick leave, and Training the returning workforce.  10. EPISODE 18: GLORIA STEINEM: WHY WOULD YOU NOT USE YOUR VOICE?In February 2020,  I sat with Ms Gloria Steinem. I asked her what she did for her health her self care and gave me a look of … well listen to what she said. 

Sara Hendren was drawn to painting as a kid, studied it in college, then began to build her body of work and career as a fine artist, focusing on painting. Then, a series of experiences sent her in what, from the outside looking in, may have seemed like a very different direction, but from the inside looking out, what a completely organic and aligned expression of her blended passion to see, to create, to design and to be of service.Now an artist, design researcher, writer, and professor at Olin College of Engineering, Sara describes herself as a humanist in tech, focusing on the intersection between disability - or the perception of it - and what she calls the built world, or how the world is designed to either support or dismantle freedom and autonomy based on our bodies and their capabilities. And if you’re thinking “well, this isn’t about me,” you’ll quickly discover how well-intended, yet misguided that assumption is likely to be. It’s about all of us.Sara’s work over the last decade includes collaborative public art and social design that engages the human body, technology, and the politics of disability: things like a lectern for short stature or a ramp for wheelchair dancing. She also co-founded the Accessible Icon Project, co-created a digital archive of low-tech prosthetics, and her work has been exhibited at the Victoria & Albert Museum, the DOX Centre for Contemporary Art, The Vitra Design Museum, the Seoul Museum of Art and other venues and is held in the permanent collections of the Museum of Modern Art and the Cooper Hewitt Museum. Her new book is What Can A Body Do? How We Meet the Built World. (https://tinyurl.com/yy8r8wwc)You can find Sara Hendren at: Website (http://sarahendren.com/)Check out offerings & partners: KiwiCo: kiwico.com - 50% off your first month plus FREE shipping - code GOODLIFETotal Gym: TotalGymDirect.com/GOODLIFE - 30-day in-home trial on the Total Gym Fit for Just $1. And an ADDITIONAL 20% OFFSleep Number: sleepnumber.com/GOODLIFE - save 50% on the Sleep Number 360® Limited Edition smart bed

I'm incredibly excited to have Darnell-Jamal Lisby on ‘The Art of Costume' this week. Darnell is a fashion historian and curator and broadcaster based in New York. He has contributed to a range of curatorial efforts at esteemed institutions such as the Fashion Institute of Technology, Cooper Hewitt Museum and the Metropolitan Museum of Art's Costume Institute. His writing has been published on platforms such as FIT's Fashion History Timeline, the Fashion and Race Database, and Vogue. Darnell's passion pertains to exploring the art historical context surrounding the juxtaposition between Blackness and the history of fashion, so I'm honoured to be discussing costume and race with him on today's episode.

BE SURE TO SEE THE SHOWNOTES AND LISTEN TO THIS EPISODE HERE. Eve Picker: [00:00:17] Hi there. Thanks so much for joining me today for the latest episode of Impact Real Estate Investing.   Eve: [00:00:23] My guest today is John Folan, head of the Department of Architecture and Design at the University of Arkansas. John is probably best known for his recent work in Pittsburgh. As founder of the Urban Design Build Studio, he has used design processes to work with underrepresented communities on the development and implementation of a variety of interesting projects. And in 2011, he co-founded Project Re, also in Pittsburgh, which was geared towards creating entrepreneurial opportunities for local communities with a three part mission: re-use materials, rebuild communities and restore lives by teaching trade skills to help people secure a living wage.   Eve: [00:01:16] Be sure to go to EvePicker.com to find out more about John on the show notes page for this episode, and be sure to sign up for my newsletter so you can access information about impact real estate investing and get the latest news about the exciting projects on my crowdfunding platform, Small Change.   Eve: [00:01:40] Hello, John. It's just lovely to be able to chat with you today.   John Folan: [00:01:45] It's great to speak with you, too.   Eve: [00:01:46] Yeah, it's been way too long.   John: [00:01:48] Yeah.   Eve: [00:01:49] So, you are now the head of the School of Architecture at the University of Arkansas. But I've known you, I knew you through your tenure at Carnegie Mellon University and saw you launch the Urban Design Build Studio there. It's pretty rare to meet an architect and teacher who is so squarely focused on public interest and equity. And I wanted you to tell me a little bit about the Urban Design Build Studio and the goals you have there.   John: [00:02:19] Well, the Urban Design Build Studio is still alive and well, actually, I've carried it with me to the University of Arkansas and it's now at the Fay Jones School of Architecture. We're on the initial phases of the first project down here, with promises of many more to come, even in the context of the changes that we're experiencing with the pandemic. The focus of the Urban Design Build Studio is really to focus on public interest design issues. The clear objective is to use collective intelligence so that the work benefits from the perspectives of multiple entities, multiple individuals, people of multiple expertise. And what we're trying to do is develop work ... tangible outcomes, tangible impact that is replicable and appropriate for the circumstances being addressed. So, it's quite often that Urban Design Build Studio projects start without having an idea of what the project is, but they emerge more organically out of conversations with community stakeholders and community leaders.   Eve: [00:03:41] So, tell us a little bit about the first project that you're doing there. Or, maybe a past project that you did in Pittsburgh, but one that you think is really a good example of what you're trying to do.   John: [00:03:51] I think probably the best example of the one in Pittsburgh, and then I can talk about what we're starting to do here. The projects in Pittsburgh have ranged in scope from a fabrication facility to a cafe to housing proposals and all sorts of projects in between. Mobile advocacy projects, as well. Probably the one that demonstrates the underpinnings of the Urban Design Build Studio best would be Cafe 524, which is now the Everyday Cafe in Homewood. That project was initiated with ...   Eve: [00:04:34] Everyday Cafe?   John: [00:04:36] Yeah, Everyday Cafe, which is right there on North Homewood Avenue, in Homewood, and that project emerged out of a chance introduction to Dr. John Wallace at the University of Pittsburgh and is a native of the Homewood neighborhood, and working with students. By virtue of the suggestion of the Urban Redevelopment Authority, we started working in Homewood and and started with some community engagement, met Dr. Wallace and really focused on this notion of a "third place." And he had put together a group of people who were interested in establishing a third place and a business opportunity for local residents, and put together a team with Operation Better Block and obtained a license agreement for the property, and then ultimately stuck with that project. And Dr. Wallace has now run that facility for about three years. So, that's the type of project that probably best exemplifies an organic path to coming up with something that's meaningful and sustainable for a community.   Eve: [00:05:53] A little bit of background for our listeners. So, Homewood is one of the neighborhoods that kind of suffered most, I think, when Pittsburgh lost half its population, and really hasn't come back. I don't know about, I don't know the demographic numbers there, maybe you do, but it's very poor ...   John: [00:06:12] Yeah, it's one of the most economically challenged neighborhoods in the city, if not the most, depending on the sector of the neighborhood that you look at. It is, it demonstrates the most challenged characteristics in terms of median income levels. So, there are a number of factors that the significance of that project and the significance of having stakeholders who are really invested in the community, and want to sustain something. So, you know, the work of the Urban Design Build Studio, we're bringing design services to a group of individuals who may not have had access to those services otherwise. And to achieve something that they might not achieve otherwise. By virtue of affiliations with a research university, there's an opportunity to spend longer periods of time and working on the projects with those stakeholders than might be possible in a traditional market rate scenario.   Eve: [00:07:13] So, your projects are then in pretty underserved neighborhoods where people are in serious need economically, or affordable homes, or any variety of those options, right?   John: [00:07:27] Yes.   Eve: [00:07:29] Okay. And so you also launched Project Re in Pittsburgh. And I don't know if you took that with you as well. But what was that about?   John: [00:07:37] Project Re was a way to expand the efforts of the Urban Design Build Studio. I'm still the executive director of Project Re. Project Re was focused to address regional issues in Allegheny County and Pittsburgh, focusing on restoring community, rebuilding lives and re-use of materials. So, it was a transactional entity and a physical space that has been put together to bring design expertise ... You submit materials that are extracted from building deconstruction associated with blight that exists, in Pittsburgh, and then involve efforts of job skill training in the creation of the projects. So, it's a, the space is about 20,000 square feet in size. There's a large community meeting center. There's a gallery in there. There's a small studio. There's an industrial fabrication shop that has CNC technology as well as a wood shop. And then there's an assembly area, and welding training centers.   Eve: [00:08:49] Wow.   John: [00:08:50] Since 2012 that's been the main working space for the Urban Design Build Studio in Pittsburgh. And we plan to use that space, now that I'm in Arkansas as the head of the Fay Jones School, the intention is to use that space in the summers for design build projects with a number of universities around the country and potentially around the globe, to work on projects that are more targeted in nature, and bring people to Pittsburgh. And then during the year, we're planning on moving forward to have a series of fabricators and artists and residents who work on projects and initiatives that they're interested in.   Eve: [00:09:41] That's pretty extensive. So, how do you hope these initiatives will impact architecture, and architects as citizens, in general? This is not what most architecture schools do, right?   John: [00:09:54] No, it's not, but I think that there's been a growing awareness of it. I would say it's become much more common now. There's a much greater awareness of the benefit that people can have. I think that, you know, when we talk statistically, if you reference the Cooper-Hewitt Museum exhibition from a number of years ago, you know, they always talk about the other 98 percent, that two percent of the population can afford to use the services of an architect. That statistic is not really correct. The language, more precisely, should be to two percent of population elect to use the services of an architect. And so if we take a look at that, that 98 percent sector is enormous. There is a large portion of that sector that simply don't value design. And so there needs to be greater awareness.   Eve: [00:10:53] I used to always say that people would spend more time picking the sneakers they buy then choosing an architect, right?   John: [00:11:00] True. Yeah, they will. And so there's a culture that has to be cultivated around that and and an appreciation for that. So, the intent here is not that every student emerges wanting to be a contractor, or wanting to build their own work, or that they pursue public interest design as a full-time endeavor. But it's more that we're elevating their awareness, more that we are helping them to become better citizens, helping them to understand opportunities and how to navigate the context of projects to help them be innovative in ways that are appropriate and have impact to broader communities.   Eve: [00:11:41] You know, I've always thought that architectural training is really unique because it teaches these kids to take nothing and turn it into something in a very creative way. And it's a training and problem solving that I don't think, I don't think you can really match in another profession, but maybe in engineering, but perhaps not so creatively there.   John: [00:12:04] No, I agree entirely. I think that it's an enormous skill set. And most of the students who are successful in migrating the whole way through a curriculum possess a great deal of passion, and a great deal of persistence, as well. And I think those sensibilities and those attributes become so important. And I think that we undervalue ourselves ...   Eve: [00:12:30] Yeah, I agree.   John: [00:12:31]  ... quite clearly. And, you know, and it's interesting, too, this trend towards project-based learning that has been adopted across academic circles. You know, it's really interesting, that's been embedded in architectural education since its inception. We never seemed to value it. But now other academic units find enormous value in it. And it's something that's always been inherent, what we do.   Eve: [00:12:57] So, you know, I'm an architect by training and I've morphed over the years into now ... I'm a fintech expert! And who knew? But I would say that, you know, early on when I was young, I had a very hard time thinking about leaving architecture because it felt like a waste of training. But I've realized over the years that's absolutely not true, and that training has helped me in innumerable ways. So, I wonder whether architecture schools are getting better at showing young architecture students the possibilities of what they can do with this training. They don't need to just go work for a, you know, a starchitect somewhere, but there's sort of endless possibilities for what they can do.   John: [00:13:45] No, I think that students emerging today are so much more aware. I do think that schools are being far more successful in terms of providing opportunities  to students that suggest the full spectrum of things, that they might branch out and might explore professionally after they leave the academic setting. It's really interesting. I've always been amazed at what you've accomplished. And I think in a way you're sort of the poster child for ...   Eve: [00:14:19] The wayward architect, right?   John: [00:14:20] Well, yeah. I mean, but not really. You've always come back and you've been an advocate for design. And I think that, I think where there's now greater awareness of what architectural education can do is evidenced by programs that are not necessarily professional programs. Like four year programs that are really elevating the awareness of young individuals about the potency of design, what design has to offer. And what happens is those people who graduate, say, with a bachelor of science that will not position them for professional licensure, they're merging and entering other disciplines, allied disciplines and allied fields. Allied fields are as important, as you know, to the implementation of innovative work as design. I mean, so, yes, I think that the schools are much better now at getting students away from navel-gazing. You know, where you just sit in isolation and try to develop things in isolation. I think that there's much more emphasis placed on collaboration, team building. I think you see that across the board.   Eve: [00:15:37] Yeah, that's pretty fabulous. So, as head of the architecture school there, what do you think is the most vital now for the next generation of architecture students, then?   John: [00:15:49] Well, I think it's probably the same thing that it's always been, is agility. And I think that's probably a lot of what we've been discussing today, is the the ability of somebody to adapt to a situation, to understand a situation, to bring different levels of expertise and to orchestrate that expertise in a positive way. It's also knowing when to be a soldier and when to be a leader. And I think that those are important things, important sensibilities. And of course, with climate change being such a significant factor, I mean, that has been part of the conversation. We're starting to see much greater awareness in the area of social justice and equity. That will need to continue as well. So, I think, again, this training is a problem solver. It's really just the critical thinking skills and being agile that you really want to have somebody emerge with. They don't feel that they're indoctrinated, in a way that they're equipped with a series of tools that will allow them to adapt and grow and change ...   Eve: [00:17:01] Yeah.   John: [00:17:01] ... as they move through their career.   Eve: [00:17:03] I'm jealous that they're learning that so young. Because it really wasn't a possibility when I went through school.   John: [00:17:08] Yeah, no. Same for me. There was one way to do it. And you kind of had to find your way after you got out.   Eve: [00:17:16] We had to butt our heads against it, right?   John: [00:17:18] Yeah.   Eve: [00:17:19] So, what's your background and what ... You've spent a life kind of fascinated with equity in architecture and in the physical environment. And I'm just wondering how you got there.   John: [00:17:29] Well, I'm always proud to tell people that I'm from Chicago, if they're willing to ask and if they can't discern from my accent. So, I had, you know, I'm also old enough that when I was young, there were a number of significant buildings that were being constructed at the time. And I was fortunate enough to have the opportunity to see those buildings being built and was just fascinated by construction and the physical environment. And so I really can't remember a time where I did not want to be involved in architecture, professionally. It was always a an interest of mine and something that I thought would be a great privilege to be involved with. I think as I got older I started to develop an interest in affordable housing and equity, just by virtue of circumstance that I had growing up. Then my career took me about as far away from that and as you can get and I went to work for a couple of starchitects and worked on large projects, significant projects. And then I was principal for a large, well-known firm. And when ... I hit a point in my career where I was not addressing things necessarily related to equity and not related to issues in neighborhoods that I felt needed help and made it a sea change in my career and focused on nonprofit work ... an extension of that. So that's kind of the path I took.   Eve: [00:19:07] Yes. We know that you care about socially responsible real estate, but are there any current trends in real estate development that interest you the most? And perhaps the second question is, given what's going on with the coronavirus right now, how might an architecture change to address things like pandemics and keeping people safe?   [00:19:33] Those are really interesting questions. And, you know, it's interesting that you're asking it because the answer, probably .. well, it might have been same a few weeks ago, but it's ... you know, given the perspective that we all have at this time. Of course, it's changed all of our perspectives. Things that are interesting in terms of real estate; I think that there's much greater awareness of how market rate development can be leveraged to advantage mixed-income development and provide an opportunity for communities where fixed income residents can be part of a successful neighborhood. I think that there's an enormous amount of advocacy that is still needed with regard to that. Issues around gentrification. I think people are very keenly aware of some of those issues, but a lot of what's perceived as gentrification, it is byproduct, in fact, of misinformation many times. That there's a perception that somebody will be pushed out rather than understanding that there's a mechanism for long-term residents to stay in an area. So, I think advocacy there becomes really important. The things that Small Change is doing by allowing people to invest through crowdsourced funding is incredibly important. I know the range of projects that you have that are demonstrated through the website really illustrate the potency of groups of people coming together to impact change in areas where it would probably be risk averse in terms of taking on opportunities. So, those are probably the areas in development. In terms of response to the pandemic, I really am at a loss on that.   Eve: [00:21:28] I am a little bit, too. But I've been thinking a lot about Small Change. And first and foremost, I have this tool that lets everyday people invest. And yet, you know how many people filed for unemployment in one week, this ...   John: [00:21:43] Yeah.   Eve: [00:21:43] ... last week? You know, and I can't really kind of reconcile the two at the moment. I think we're going to have to wait and see.   John: [00:21:53] Yeah. Yeah, no, I, You know when I think, with the pandemic, I think I probably, I haven't been thinking about it in terms of the investment side. But the point that you raise is really important. My mind tends to shift more towards the practicalities of one's physical health. And then, of course, I   of the work of MASS, things that they've done with Dr. Farmer, and just simple things.   Eve: [00:22:21] We're going to see a sea of technological changes as to how you open doors for example.   John: [00:22:28] Oh yeah. No, that's right. Yes, it will it will transform those things that we take for granted. So, fundamentally. Yes.   Eve: [00:22:35] Yeah, it's a bit crazy. And of course it's having an impact on your school because the teamwork that is clearly really part of what you're doing is sort of being shut down at the moment, right? With the students and how they work together. Or has it? Or are you finding other ways to do that?   John: [00:22:53] Well, we're still in the first weeks. I think unfortunately ... what struck me ... You know, it's interesting if I just relay a story. When we made, when they first made the announcement they were going to distance learning, and anybody who knows architects knows how, understands the intensity of the educational process and studio culture. The younger students in the school happened to be outside my office and I heard this eruption of laughter. And, you know, they're quite happy that they might gain relief from the demands of the curriculum. And then, when I went up to visit my studio, because I work with students who are further along in the program the kids were in tears. And it was at that time that I really realized the impact that it's having on those who are emerging into the profession. They understood the gravity of the situation at that time by virtue of the fact that they understood that was probably gonna be the last time they were going to see their classmates as a large group. That was, you know, the celebrations of graduation were clearly going to be suspended, at least for a while. And then, immediate concerns over what it meant for viability of their professional future ... the immediate viability. So, I think your perspective, depending on your age ...   Eve: [00:24:30] Yes. Definitely.   John: [00:24:30] ... changes and your understanding of the impact.   Eve: [00:24:39] Yeah, and then, I asked the current terms question in other interviews and a month ago, you know, people are talking about co-working. And this month, I have to wonder if co-working is dead. You know, it's very, very difficult ...   John: [00:24:57] Yeah.   Eve: [00:24:57] ... It's difficult to imagine. Anyway, now we're down this depressing path, so.   John: [00:25:01] Yeah. Well, I think to think about it optimistically, you know, going back to what we said. This is a wicked problem. And it's not a wicked problem. It is illuminating thousands of wicked problems. And I think that the opportunities will emerge out of what we understand. And I think right now it's so early in the process, as we start to come out of this, as the virus is controlled and contained, and we start to plan for the future. I think that will open up all sorts of avenues. But what those are I don't know, and I really haven't had time to speculate.   Eve: [00:25:47] But, you know, I think architects might be at the center of some solutions, I'm sure. So.   John: [00:25:52] Yes. Yeah.   Eve: [00:25:53] So, it's actually a very interesting thought. How do you think we need to think about our cities and neighborhoods to build better places for everyone?   John: [00:26:04] Well, I think we've been on a rather positive trajectory. When I was a, you know, again, going back to when I was a child, when I was a child cities were horrible places. You didn't want to be in cities, you know, unless you were really serious about urbanism. We avoided cities. And I think that the perceptions of cities really didn't start shifting until the early 90s. And it really hasn't been until, I would say, the last decade that we've seen the benefits of positive urban thinking, and consideration of new models of development. Yeah, I think that the cities are making strides towards being much more inclusive in terms of both social and economic platforms. And so, we still have to move the meter a lot further in terms of that. You still have, you know, there's still issues of segregation. There's still issues of economic disparity and concentrated poverty. So, I think that where urban environments need to start moving is towards deep concentration of those negative attributes. I think that it has gotten significantly better in recent history and I think we are on a path forward. And again, I think crowdfunding in support of developments is a significant component to that continued success in the future. I do think it's interesting, we always talk about density being ... and then, of course, in cities like Pittsburgh, where there been a population loss, you know, the term that was developed was "right sizing." I don't know if the pandemic is is going to lead us to start thinking about what appropriate levels of density are or how that ties into the general health and well-being that's to be determined in the future.   Eve: [00:28:16] Well, I really enjoyed this conversation, and I'm excited to see how you and your students put some thought to the post-pandemic problems and the future that we're all looking at. It's going to be really interesting to see.   John: [00:28:31] Well, thank you. I really enjoyed the conversation. This has been a great conversation.   Eve: [00:28:37] Ok, bye John. Bye.   John: [00:28:37] All right. Bye Eve. Thanks.   Eve: [00:28:44] That was John Folan, head of the Department of Architecture and Design at the University of Arkansas. John is an architect and teacher like no other I know. He frames his work around issues of the environment, social justice and equity. Not only is his own body of work significant, but he is dedicated to teaching students to be the next generation of thoughtful architects, makers and citizens.   Eve: [00:29:21] You can find out more about impact real estate investing and access, the show notes for today's episode at my website, EvePicker.com. While you're there, sign up for my newsletter to find out more about how to make money in real estate while building better cities.   Eve: [00:29:38] Thank you so much for spending your time with me today. And thank you, John, for sharing your thoughts. We'll talk again soon. But for now, this is Eve Picker, signing off to go make some change.

Dyan Finkhousen is a leading strategist, adviser and entrepreneur building expert ecosystems and platform operations that drive growth and productivity in all industries. She is the Founder and CEO of Shoshin Works and is known for her strategic work in enterprise-scale ecosystems that leverage open innovation, collaboration, crowdsourcing, and freelance resourcing. Before launching Shoshin Works, Dyan was GE’s Global Director of Open Innovation and Advanced Manufacturing, and Founder of GE GeniusLink and GE Fuse – where she cultivated an expert ecosystem with reach to over 21 million resources and enabled over $6 billion in impact. Her pioneering platform and ecosystem work in connected vehicles, connected equipment, and now connected experts has enabled organizations in financial, industrial and healthcare sectors to optimize performance. She also helped coach GE’s industrials on the development of new IoT product and service portfolios, and oversaw the development of GE’s global IoT brand, Predix. Valued for her record of creating and scaling transformational business models, Dyan has served on client advisory boards for Expert Economy companies and is an Advisor and Founding Member for Open Assembly. Her award-winning thought leadership has been showcased in The Wall Street Journal, Forbes, Wired, Harvard Innovation Lab, Harvard Analytics curriculum, MIT Sloan, Singularity University, Cooper-Hewitt Museum, Nikkei Business, CIO Review, Slush, keynote speaking engagements and podcasts.

Architect David Hertz is the founder and president of David Hertz FAIA Architects, inc. and S.E.A., the Studio of Environmental Architecture, which he established as Syndesis in 1984 and skysource.org in 2016 David graduated with a Bachelor of Architecture Degree from the Southern California Institute of Architecture (SCI-ARC) in 1983. In 2006 David was awarded the Distinguished Alumni Award from Sci-Arc. In 2008 David was elected to the prestigious American Institute of Architects College of Fellows as one of it’s youngest member in it’s over 155 year history. David Hertz’ award winning work has been widely published and exhibited internationally some highlights include exhibitions in the Museum of Modern Art (MOMA),The Smithsonian Museums of Natural History and the National Building Museum, the Cooper Hewitt Museum as well as inclusion the Venice and Istanbul Architectural biennale’s, having won the American Architecture Award in 2009 and 2012 respectively. In 2018 David lead his team Skysource to become the Grand Prize winner in the Water Abundance XPRIZE out of a field of 98 teams from 27 countries to make 2,000 liters of water from air in 24 hours using 100% renewable energy at a cost of less than 2 cents/ liter. In 2019 Skysource’s WeDew was awarded the General Excellence award for Developing World Technology in Fast Company’s World Changing Ideas Awards which drew over 2,000 applicants. https://www.skysource.org/

In Learning & Development, we love a good buzzword: 'blended learning', 'micro learning', 'learning management systems'... anything with 'learning', really. Is this a problem? Or just a time-wasting argument? This week on The GoodPractice Podcast, Ross G and Owen are joined by the eLearning Guild's David Kelly to discuss. If you'd like to share your thoughts on the show, you can find us on Twitter @RossGarnerGP, @OwenFerguson and @LnDDave. To find out more about GoodPractice, visit goodpractice.com or tweet us @GoodPractice or @GoodPracticeAus. For everything eLearning Guild, visit: elearningguild.com The Learning Solutions Conference and Expo runs March 26-28. See: learningsolutions19.com The Realities360 Conference and Expo runs June 25-27. See: realities360.com The DevLearn Conference and Expo runs October 23-25. See: DevLearn19.com For Owen's WILTW on Einstein and Feynman, see: https://skeptics.stackexchange.com/questions/8742/did-einstein-say-if-you-cant-explain-it-simply-you-dont-understand-it-well-en  Dave recommended the Cooper Hewitt Museum, online at: https://www.cooperhewitt.org/  For a review of the learning styles literature, see: Pashler, H., McDaniel, M., Rohrer, D., & Bjork, R. (2008). Learning styles: Concepts and evidence. Psychological science in the public interest, 9(3), 105-119. The article is available online, but for those seeking a short version, the key paragraphs are: "Although the literature on learning styles is enormous, very few studies have even used an experimental methodology capable of testing the validity of learning styles applied to education. Moreover, of those that did use an appropriate method, several found results that flatly contradict the popular meshing hypothesis. "We conclude therefore, that at present, there is no adequate evidence base to justify incorporating learning-styles assessments into general educational practice." This does not mean that learning styles do not exist, but that there is not yet any evidence for the concept making an effective contribution to how people learn.

Topic:Urban Resilience Series – Resiliency planning, equity and community-driven design Guest & Organization: Barbara Brown Wilson is an Assistant Professor of Urban and Environmental Planning at the University of Virginia’s School of Architecture. Barbara Brown Wilson’s research and teaching focus on the ethics, theory, and practice of sustainable community design and development, and on the history of urban social movements. Wilson’s current research projects include understanding how grassroots community networks reframe public infrastructure in more climate and culturally appropriate ways across the U.S. and helping to elevate the standards of evaluation for community engaged design around notions of social and ecological justice. Her research is often change-oriented—she collaborates with real community partners to identify opportunities for engaged and integrated sustainable development. She is a member of the http://welcometocup.org/Projects/TechnicalAssistance/DickRick (Equity Collective), whose work is currently featured in the Cooper Hewitt Museum’s By the People: Designing a Better America Exhibition. Alongside Architect http://ripplearchitecture.com/ (Jeana Ripple), Wilson is coordinating the community engaged aspects of the Public Art Installation for the http://arthousegary.com/ (ArtHouse Social Kitchen) Project in Gary, Indiana. She is also working, as a researcher, an educator, and a board member of the https://mail.eservices.virginia.edu/owa/redir.aspx?REF=OBiiaawcum7hxBzGMlergptd7o-ZYSYudmE6lojVrUO3f_cSUPjTCAFodHRwOi8vcGllZG1vbnRob3VzaW5nYWxsaWFuY2Uub3JnL2JvYXJkLw.. (Piedmont Housing Alliance) (PHA) with their leadership to identify venues where PHA residents can more actively engage in and shape their communities. In those collective posts, Wilson is serving as a resource ally to PHA’s new Youth Leadership in Land Use program that brings in resident youth from Friendship Court as valued members of the design team for the Redevelopment project currently underway in their neighborhood. She is a co-founder of the http://dfstudentforum.org/ (Design Futures Student Leadership Forum), a five day student leadership training which convenes students and faculty from a consortium of universities with leading practitioners all working to elevate the educational realms of community engaged design; and a co-founder of the http://acddc.org/ (Austin Community Design and Development Center) (ACDDC), a nonprofit design center that provides high quality green design and planning services to lower income households and the organizations that serve them. Resources: https://islandpress.org/book/resilience-for-all (Resilience for All – Striving for Equity Through Community-Driven Design) https://islandpress.org/urban-resilience-project (Island Press Urban Resilience Project) Download the Island Press APP! Learn more about the APP https://islandpress.org/get-our-app (here), and find it on https://play.google.com/store/apps/details?id=org.islandpress.islandpressdiscoveryapp (Google Play) and https://itunes.apple.com/us/app/island-press/id1251388048?mt=8 (Apple App Store)!

Antonio Alcalá opened Studio A in 1988 after graduating from the Yale School Art with an MFA in graphic design. Since then, his studio has won awards of excellence in design from local, national and international design institutions. His clients include the National Gallery of Art, the National Portrait Gallery, Smithsonian American Art Museum, and the Smithsonian Institution. Alcalá is responsible for the design of US postage stamps as an art director for the United States Postal Service, and in 2011, Alcalá was nominated for two National Design Awards from the Cooper-Hewitt Museum. His work is represented in the AIGA Design Archives, the National Postal Museum, and the Library of Congress Permanent Collection of Graphic Design. In this episode we speak with Antonio about his role as an Art Director for the United States Postal Service.

Host George Smart reports from February's Modernism Week in Palm Springs, the Mecca for all things Mid-Century Modernist!  He spoke poolside from the Hotel Skylark with keynote speakers from the week. Annalisa Capurro, aka Ms. Modernism, is a interior designer, design educator, architectural historian, speaker, writer, preservationist, MCM photographer, and mid-century design afficionado who lives in the 1956 Russell Jack House in Sydney, Australia. She is an educator at Design Centre Enmore and the University of New South Wales. At Modernism Week 2017, she starred in SEXY & CULTURE, six presentations on surprising topics related to sexual mores in the MCM world. She love-love-loves the color orange. Brooke Hodge is an architect, journalist, and blogger for the New York Times Style Magazine - and the Director of Architecture and Design at the Palm Springs Art Museum, overseeing their huge architectural assets including the Architecture and Design Center and the 1964 Albert Frey house. She's worked for some of the greatest names in design museums: the Cooper Hewitt Museum, the Hammer Museum, and the Museum of Contemporary Art in Los Angeles. She's also into Japan, California, juggling, modeling hats, and writing Mad Libs. Besides serving as Treasurer for Palm Springs Modernism Week, which is a huge job, Mark Davis is Chair of the Aluminaire Foundation, dedicated to preserving, moving, and rebuilding Albert Frey's and Lawrence Kocher's iconic Aluminaire House from New York to Palm Springs.  Spoiler: they moved it.  Next challenge, getting it rebuilt.  You can help!

_ We Dig Plants _ is getting artsy this week as Alice and Carmen welcome Abbie Zabar to the studio for a thorough talk on her work. Abbie is an acclaimed artist, graphic and garden designer, and the author of five books. Her first book, The Potted Herb (1988), is now considered a gardening classic. Her landscape collages have been represented by Allan Stone and BlumHelman, and the Flowers in the Great Hall of the Metropolitan Museum of Art series has been represented by Ursus Books & Prints and the Horticultural Society of New York. Her artwork has been shown at the Museum of Modern Art, the Cooper-Hewitt Museum, the Parrish Museum (Water Mill, NY), the International Paper Corporation, the Louvre, the Institute of Contemporary Arts (London) and the Vigeland Museum (Oslo), and is part of the permanent collections of the Mead Paper Corporation of America, the Brooklyn Museum, the Jewish Museum, the Hunt Institute for Botanical Documentation (Pittsburgh, PA) and the Smithsonian Museum. Zabar’s illustrated articles have appeared in Garden Design, Horticulture, Fine Gardening, Gourmet and The New York Times, as well as in numerous esteemed British publications. Zabar is currently the Program Chairperson for the Manhattan Chapter of the North American Rock Garden Society and a Learning Leader at P.S. 198. This program was brought to you by the Christmas Tree Farmers Association of New York. “My style depends on what I’m working off. I can work in many mediums.” –Abbie Zabar on We Dig Plants  

Reducing your cable bill (unbundling, VoIP phone, Netflix), controlling sound notifications in iMac, changing HP printheads (when and how), wi-fi extenders (high gain antennas, repeaters), changing boot order in Windows (BIOS configuration, turning off secure boot), Profiles in IT (Peter Thiel, Don of the Paypal Mafia), physics of ball deflation (pressure vs temperature revealed), Intel Compute Stick (turns any monitor into a computer), LizardStressor Botnet hacked (customers revealed), baille printer with lego kit (science project becomes startup), Cooper Hewitt Museum (future focused, blends digital and real worlds). This show originally aired on Saturday, January 24, 2015, at 9:00 AM EST on WFED (1500 AM).

Reducing your cable bill (unbundling, VoIP phone, Netflix), controlling sound notifications in iMac, changing HP printheads (when and how), wi-fi extenders (high gain antennas, repeaters), changing boot order in Windows (BIOS configuration, turning off secure boot), Profiles in IT (Peter Thiel, Don of the Paypal Mafia), physics of ball deflation (pressure vs temperature revealed), Intel Compute Stick (turns any monitor into a computer), LizardStressor Botnet hacked (customers revealed), baille printer with lego kit (science project becomes startup), Cooper Hewitt Museum (future focused, blends digital and real worlds). This show originally aired on Saturday, January 24, 2015, at 9:00 AM EST on WFED (1500 AM).

Arts In The City this month explores the reopened Cooper-Hewitt Museum and an exhibition on high heels at the Brooklyn Museum. Other interviews include a modern architect, David Benjamin, and A Gentleman's Guide to Love and Murder star, Jefferson Mays.

Architect David Hertz is the founder and president of David Hertz FAIA Architects, Inc., and S.E.A., the Studio of Environmental Architecture, which he established in 1984. David graduated with a Bachelor of Architecture degree from the Southern California Institute of Architecture (SCI-Arc) in 1983 and worked in the office of architect John Lautner for several years. After travel and study in Europe, David returned to serve his internship in the office of Frank Gehry before opening his own firm in 1984. In 2007, David was awarded the Distinguished Alumni award from SCI-Arc, and in 2008 he was elected to the American Institute of Architects College of Fellows. David Hertz’s award winning work has been widely published and exhibited internationally, including exhibitions in the Museum of Modern Art (MOMA), the Smithsonian Museum of Natural History and the National Building Museum, the Cooper Hewitt Museum, as well as inclusion the Venice and Istanbul Architectural biennales, having won the American Architecture Award in 2009 and 2012 respectively. David is a founding member of the AIA Committee on the Environment (COTE) as well as the U.S. Green Building Council (USGBC), and he was involved in the first LEED Platinum Commercial and Residential Projects in the U.S. Since 1990 David has been on the Academic Advisory Committee and the faculty of the UCLA Arc-ID Program teaching sustainable design courses. David has also taught at the USC School of Architecture, SCI-Arc, and Art Center College of Design.