College of Design

Goldstein Museum of Design


Designed by Minneapolis-based architect Andrew Schuehle, Meadow Knoll is a sprawling shingle-clad home overlooking the shores of Lake Minnetonka. Schuehle's commitment to showcasing the area's natural beauty is reflected in all aspects of the 1920s-era house. Among the first homes built on the lake, the site was chosen for its rolling fields and sandy beaches. Sitting atop a gently sloping hill, Meadow Knoll echoes its north woods surroundings. With its light grey wooden shingles, expansive windows edged in mossy green, and elaborately carved wooden front door, the home sits unobtrusively amidst the old growth forest.

This is the site of the Goldstein's fifth annual benefit, held this year on September 13. One of the most exciting aspects of the benefit is the opportunity to visit some of Twin Cities' most interesting architectural sites. Past events have been held at locations from International Market Square to Davis-Winton-Nelson House (designed by Phillip Johnson). Despite its idyllic locale, Meadow Knoll is no ordinary lakeside cottage. Built by George F. Piper, president of the Minneapolis/St. Paul stock exchange, the house was a lavish summer resort in the manner of Jay Gatsby's fictional Long Island mansion. Shingle style houses were all the rage in beachside communities such as Newport and Cape Cod, and Piper's goal was to bring a little east coast glamour to his Midwestern lake retreat.

Party-goers might have lounged in cozy wicker chairs, enjoying the conversation and lake view inside an elegant screened porch. Bolder guests may have stood upon the broad stone terrace to drink champagne and breathe in the fresh pine-scented breeze. Others may have dipped their toes in the cool swimming pool or walked barefoot along the sandy beaches, listening to jazz music spilling from the gazebo and the clicking heels of a Charleston dancer strutting her stuff.

Meadow Knoll's current resident, Rosita "Zita" Hofmeister Hawley Wright understands the importance of maintaining the home's historic essence. She has lived here since her late husband John Blackstock Hawley, Jr. purchased the home in 1938. Zita's loving stewardship ensures that the spirit of the roaring 20s lives on in this legendary lake home.

For more information about the benefit, visit:



Digitization is a critical answer to the balance between studying museum collection objects and preserving them. Digitized museum collections make it possible to share images of design with students, designers, and researchers - potentially everyone with access to a computer while minimizing handling of objects.

Goldstein Museum of Design (GMD) has photographed over 6,000 objects from its 30,000 item collection, making images available on a searchable database on the museum's website. The grant that funded this work expired this winter. Raising $10,000 by the end of the fiscal year will allow this important project to continue.

Open the collection storeroom doors wide! Give a gift of $100 today. Your donation can help students experience design across time and cultures.

Increasingly, students do most of their research on the web. Faculty members report that in some classes, every student relies on GMD's digitized collections database for their major project. Some students find inspiration for new designs after studying on-line images of collection objects. GMD's collection database has thrown open the doors to the possibilities of innovation and inspiration.

Will you donate to expand this important student resource? Please help us fill the funding gap and continue this important work with a donation.

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Lin Nelson-Mayson
Goldstein Museum of Design

Visit for more information about the Goldstein Museum of Design and to search the digital collection.

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by Jess LaRocca

I'm Jess LaRocca, a sophomore in the Retail Merchandising program at the University of Minnesota. I am extremely interested in the evolution of design and love exploring its history and trying to learn more about what people need from design. Right now, I am researching different products throughout history for PDes 3170: The History and Future of Product Design. I have been searching through the Goldstein Museum's online archives, and am always intrigued by finding something new every time I log on. I am interested in Scandinavian design, especially that during the mid-century modern era, so the Danish Modern exhibit at the Goldstein is a source of inspiration for me!

This vase, produced by Swedish pottery company Gustavsberg in 1901, is an icon of Swedish Art Nouveau. The Art Nouveau Movement began in 19th century France and lasted through the early 20th century; it is best characterized by "whiplash" curves, stylized images inspired by nature, and often garish elements of style and form. However, at the root of this movement was a obsessive attention to detail in art and decorative pieces.

During the period of Art Nouveau, Sweden and Scandinavian countries began to develop their lasting design identities. In his book The History of Modern Design, David Raizman states that Scandinavian countries looked to traditional folklore and nostalgia, while also embracing modern expansions in design, which led to the development of "an appreciation for the decorative arts, deriving from a connection to nature, the dignity of handicraft, and the creation of modern national style."

The curvilinear properties of this design are a prime example of Art Nouveau pottery, but the overall simplicity of the form and its functionality reflect the Swedish dedication to handicraft and quality. The petal details also reflect both Art Nouveau principles and the Swedish tradition of drawing inspiration from nature through the use of stylized natural elements. Another important Art Nouveau element of this vase are the bowed lines from the petals to the mouth of the vase; these details create a sense of movement and focus, which were essential principles of Art Nouveau. The overall repetition creates an elegant example of the style in a way that also reflects the Swedish value of the beauty in usefulness.

Gustavsberg vase, 1901, 1982.007.001, gift of Marion John Nelson.


Thanks to ongoing financial support from people like you, we are able to continue to digitize the GMD's extensive collection of over 30,000 items of apparel, textiles, furniture, decorative arts, and more. The digitization team (fondly known in-house as "Team Digi") makes it possible for you to see the collection online, no matter where you are. This March we have the pleasure of welcoming a brand new photographer, Ellen Skoro, to the team.

Until it closed last summer, Ellen was a photography instructor and administrator at the College of Visual Arts in Saint Paul. With a Masters degree from Minneapolis College of Art and Design and a Bachelors degree from Columbus College of Art and Design, Ellen has extensive experience as a freelance photographer. Her personal work, which can be seen at, focuses on portraiture. She was recently awarded a Minnesota State Arts Board (MSAB) Artist Initiative grant to finish a six-year portrait project. Her other work has revolved around capturing still lifes of objects, experience that will translate directly to photographing the GMD collection.

Currently, Team Digi is photographing a variety of textiles from the collection. In order to create the illusion that the pieces are lying flat or magically floating in a void, the team must create an elaborate setup consisting of black panels and fabric-covered bars propped against the wall at just the right angle. Following the same protocol that has been in place for the objects that have been photographed in the past, the team meticulously calibrates the camera and shoots with powerful strobes in soft boxes. Undaunted by the complexity of this challenge, Ellen instead is exhilarated. "This museum is so cool! I'm really excited to be here!" she tells us. We couldn't agree more.

To date, 6,000 objects (or 20% of the collection) have been photographed and can be viewed online. You can now contribute directly to the continuation of this project. Visit to help make our collection accessible anywhere in the world.

Visit to search the collection.


The History and Future of Product Design

In a new course being offered at the University of Minnesota this spring, "The History and Future of Product Design" (PDes 3170), students from diverse majors across the University will spend the semester examining the key movements, figures, philosophies and technologies that have advanced the field of industrial/product design, and investigating how this historical foundation continues to inform and inspire the designers of today and tomorrow.

mies_brno_chair_starck_alessi_drskud.jpg left: Ludwig Mies van der Rohe and Lilly Reich "Brno" chair (c. 1929-30) right: Philippe Starck for Alessi "Dr. Skud" fly swatter (1998)

Students will have opportunities throughout the semester to work hands-on with objects from the museum's collection and to explore firsthand the evolution of technology and the application of new materials and processes to everyday consumer goods. Students will then apply their understanding of these factors to forecast future trends and continuing developments in the fields of industrial and product design.

zeisel_tea_service.jpg Eva Zeisel for Castleton China "Museum White" tea service (1943)

Design graduate student Curt Lund, whose own research focus is on design history and collection, will be leading the class in activities that engage the meaning-making process of design history and underline the role of creativity, innovation, discovery, and expression across the discipline. "At the heart of this curriculum is a critical exploration of design and an understanding of what designed objects and environments can mean to consumers and their quality of life," Lund said. "The Goldstein is a perfect partner in this effort, as these ideas are also fundamental to the museum's own mission and vision."

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In the second semester of a year-long collaboration with the Goldstein Museum of Design, the "Goldstein Museum App" course (JOUR 4991/ ArtH 3940) will create content (text, video, photography, audio) for an iPad application that will allow the public to explore the museum's collection in a new and dynamic way. As students plan the app, they will focus on creating an intuitive user experience with multiple levels of interaction and engagement.

Taught by Camille LeFevre (arts journalist, college instructor, and editor of The Line), the course will allow students from departments across the University to collaborate. They will bring diverse skill sets including graphic design, video and audio shooting and production, art-historical research, writing and journalism, photography, UX (user experience) and UI (user interface) and interactive/immersive online/mobile environments, and app development to the process. Through feedback from the GMD staff throughout the semester, an app will be designed that will make the museum's collection accessible to a whole new audience.

Both courses are still open for registration. Sign up today!

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Join us this Thursday for a special Curatorial Tour of our summer exhibition Printed Textiles: Pattern Stories, at 6pm in the newly renamed Gallery 241 in McNeal Hall (no reservation required). The exhibition highlights items from our collection and the printing techniques that were used to create them. Throughout the summer we will share some items that didn't make it into the exhibition on our blog. See more printed textiles in the gallery and in our online collection.

Andy Warhol's 1962 iconic image of Marilyn Monroe practically defines screen print; her lips, eyelids, and hair are cannily separated out and printed in brash colors. However, this print technique is thought to have been used in Asia as far back as the 10th century AD. Europeans did not adopt screen printing and engineer it into commercial use until the early 20th century.

marilynpurse.jpg PVC handbag with screen print of Andy Warhol 'Marilyn' by Loop Designs. Gift of Margot Seigel.

While it may seem like this method of printing miraculously transfers images onto fabric, the process relies on rational technology and skill. The basic steps are:

  1. 1. Emulsify screen
    The screen, made from a stretched mesh, is evenly covered with photographic emulsion.

  2. 2. Create the design
    A separate screen will be made for each color being printed. The designer must think in a subtractive way, considering what needs to be exposed and voided in each colored layer to be printed.

  3. 3. Transfer design onto transparency
    This is often done with an inkjet printer.

  4. 4. Burn image onto screen
    The transparency is taped onto the emulsified screen and exposed to UV light. For multi-color prints, screens that will be layered must have the design in perfect alignment from one screen to the next.

  5. 5. Create print
    A squeegee is used to evenly spread ink across the stencil.

Alex Newby (MFA '13) demonstrates screen printing technique in McNeal Hall's surface design studio.

Linen screen printed hand towel, c.1960, gift of Janet L. Johnson.



Fashion Redefined on Saturday, April 6th was an exciting all-day event dedicated to eco fashion! The event focused on innovative ideas presented by the current exhibition at the Goldstein Museum of Design, "Redefining, Redesigning Fashion: Designs for Sustainability," co-curated by Marilyn DeLong, Barbara Heinemann, and Kathryn Riley. This exhibit explores the creation of sustainable clothing by designers who respect environmental, economic, and social concerns.

Saturday, April 6th was a day of workshops and presentations for people of all ages. The opening ceremony brought everyone together for a warm welcome and included an interactive story by guest presenter "Auntie Beverly" as well as a discussion of the five themes of sustainability by the curators of the exhibit.These themes are: Emotional Connections, Repurposed Materials, Valuing Resources, Alternative Construction and Techniques, and Versatility. These themes were celebrated in different ways by each of the workshops and activities of the day.


There was a "Sustainability Boutique" filled with fun designs for sale by the workshop instructors and University of Minnesota graduate students. There was a clothing swap and mid-day fashion show sponsored by Sol Inspirations, a local non-profit organization that advocates responsible and sustainable practices.

The diverse offering of workshops ranged from Bengla (mud) dye techniques to a "Project Upcycle" sewing challenge to a discussion focused on sustainability in the industry and much more!


Everyone who participated in our "Day to Celebrate Eco Fashion" had the chance to learn new creative skills and ideas focused on sustainability and its importance. They also were able to find new ways to incorporate sustainable practices into everyday life. And they also, certainly, had fun!


Deadline for nominations - December 30, 2012

ReserachLab_20111207_025.jpgThe Goldstein Museum of Design is pleased to announce an exciting new award for emerging designers - the Margot Siegel Design Award. This annual award will be presented to a designer for excellence and innovation in his/her field, but who has yet to receive major recognition. The goal of the Siegel Design Award is to propel new design through acknowledgement of outstanding ideas, public service, and collaborative thinking.

The winner of the Siegel Design Award will receive an all-expense paid trip to the Twin Cities to speak at the College of Design and be presented with a check for $2,000. Margot Siegel, a longtime supporter of the Goldstein Museum of Design, established this fund to recognize the importance of design in enhancing the quality of life.

The Selection Committee will review all nominations and the Siegel Design Award winner will be notified in early 2013. Deadline for submissions is December 30, 2012.

Please consider nominating a designer for this award and forward this call to colleagues and friends. See the attached document for details on the nomination process. Contact me at or 612.624.3292 with questions.

This exciting new program honors emerging designers with good ideas that can shape the future. Send in your nominations for the Margot Siegel Design Award, then watch for the announcement next spring of the program featuring the winner!

Yours in design,

Lin Nelson-Mayson, GMD director


Jean_Kathleen_Class.JPGGMD's Jean McElvain and Kathleen Campbell were guest lecturers on Wednesday March 28, for Prof. Tasoulla Hadjiyanni's class, History of Interiors and Furnishings: 1750 to Present. They focused on arts and crafts era textiles, decorative arts objects, and costume. McElvain and Campbell both gave short lectures about designs during the period, then allowed students to get up close with pieces from the collection (without touching, or course).

Two standout pieces were a pair of tall ceramic Rookwood candleholders from 1919, a Gift of Marian Ortolf Bagley. Rookwood was founded by Maria Longworth Nichols in 1880, GMD1988008003-5-jpg634056447080488168.jpgand spent the first several years perfecting glazes. Matte green and blue glazes like this became a hallmark for arts and crafts pottery at the turn of the century. In addition to vases and other pot-like vessels, Rookwood produced tiles, drinking mugs, paper weights, book ends, and figurines. In 1883 Rookwood was featured at the Chicago World's Fair where it won a "highest award," giving Rookwood international recognition.

McElvain and Campbell were happy to teach class for a day, giving students a diverse experience with design history. You too can get up close with the collection! You can schedule a group visit to our Research Center, visit our current exhibitions, or find which membership levels offer behind the scenes tours. GMD produces high quality programs, supports collection preservation, and educates the public through object-based learning. What will you do during your next visit?

*Correction: this is not a Roseville piece, as stated in the winter 2012 GMD Newsletter


by Caitlin Cohn

Source: New York Times

Eva Zeisel, who was 105 when she died December 30, 2011, was one of the 20th century's most significant ceramics designers. Her work spanned over eighty years, starting from her very early twenties until the end of her life. Her aunt's pottery collection inspired her to become a ceramicist and she was the first woman to be a member of the Hungarian Guild of Chimney Sweeps, Oven Makers, Roof Tilers, Well Diggers, and Potters. Her second job was at an art-pottery studio, but she was not yet able to produce pots consistently enough to meet their standards so she left after six months. Although Zeisel initially did not succeed at throwing pottery, she eventually learned to work in porcelain, which is a particularly difficult material to work in because it is very soft and does not tend to hold a form well.

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cup and saucer, Eva Zeisel, 1945, no. 1988.008.006a-b

Zeisel's design process started with drawings on paper, followed by paper cut-outs and carving out shapes herself. In her book on Zeisel, Lucie Young quotes the designer: "Everything I do is a creation of my hands whether it is made in wood, plaster, or clay." In a TED Talk Zeisel described the goal of those who make things: "We are actually concerned with the playful search for beauty."

Coffee Pot, Sugar and Creamer, Cup and Saucer, Eva Zeisel, Manufactured by Castleton China of Pennsylvania, 1945, no. 1986.014.001 (hot water pot), 1986.014.002 (creamer), 1986.014.003 (sugar bowl), 1988.008.006a-b (cup/saucer

GMD has several Zeisel pieces, some of which were shown in the recent exhibition Polarities: Black and White in Design. These pieces belong to Zeisel's Museum collection and were commissioned by MoMA in the early 1940's. According to Young, Zeisel's disagreed with MoMA's ideology, which she found to be overly "puritan." The all-white set meets MoMA's stipulations, but also expresses Zeisel's sense of beauty.


"Eva Zeisel, Ceramic Artist and Designer Dies at 105" by William L. Hamilton, New York Times, 12-30-2011

Eva Zeisel, by Lucie Young

"Eva Zeisel on the Playful Search for Beauty, " Ted Talks, Filmed Feb 2001, Posted Dec 2008

Caitlin Cohn is Collections Assistant at GMD. She is a graduate student in the College of Design and is pursuing a PhD in Dress, History, and Culture.




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