Spaces of Invention

Faculty and students all over the country are transforming their learning spaces into Places of Invention.

How do we know?

On March 22, the Lemelson Center hosted our partner NCIIA (National Collegiate Inventors and Innovators Alliance) and a student invention showcase, part their annual conference, Open Minds. Part of the program was “Spaces of Invention,” six Ignite talks by students and faculty who describe their Design Kitchens and maker spaces from the collegiate through K-12 arenas. Speakers include:

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Girls Get Science (and Invention)

On Saturday, March 23, I had the wonderful opportunity to participate in a special evening program called “Girls Get Science,” which was sponsored by The Great Adventure Lab and took place at the Jewish Community Center of Greater Washington in Rockville, Maryland. The other panelists included my Smithsonian colleague Dr. Marguerite Toscano, a marine scientist and paleobiologist at the National Museum of Natural History, and Dr. Betsy Pugel, a physicist and electrical engineer at NASA’s Goddard Space Flight Center. The audience consisted of about 40 parents (some of whom are also teachers) from the DC metro area with about 40 of their daughters who are in grades 2-6.

Girls participating in nanotech activities.

Participating in nanotechnology activities in Spark!Lab.

The panelists and parents participated in a lively and thought-provoking 75-minute Q&A session facilitated by Great Adventure Lab president Joan Rigdon about how to support and encourage girls’ interest in STEM (science, technology, engineering, math) activities and possibly inspire them to pursue related careers. We talked a lot about the importance of having female role models (such as my fellow panelists!) from science, invention, and related fields. We also discussed ways to make STEM experiences more fun, social, interdisciplinary (including art, which makes it STEAM), and relevant to the “real world” to keep girls engaged through their teen years when typically their enthusiasm and participation wanes due to social and cultural pressures. While parents were discussing their potential futures, the daughters were in nearby classrooms totally engrossed in hands-on activities about basic robotics, video game programming, and engineering.

Girls inventing robots in Spark!Lab.

Inventing robots in Spark!Lab.

After the official Q&A, the panelists and parents joined the girls to see their inventive creations and talk more on-one for about 45 minutes. Several parents told me they had loved spending time previously with their children in the Lemelson Center’s Spark!Lab and asked eagerly when it would reopen [answer: late spring 2015 when the National Museum of American History’s west wing first floor reopens]. A girl, about 7-8 years old I’d bet (a key age for budding inventors), came up to me and quietly shared that she had been working on an invention at home but it had failed. I explained to her that failure is an important, in fact essential, part of the invention process and all inventors have to fail in order to learn. Indeed Thomas Edison is quoted as saying, “I have not failed. I’ve just found 10,000 ways that won’t work.” Then I asked if she would go back to her invention and keep tinkering, and she said she would, she had a couple of ideas to try to make it work. While we were talking she was sticking a Spark!Lab pin onto her shirt very intently.

Stephanie Kwolek, inventor of Kevlar, portraying in "Invention at Play."

Stephanie Kwolek, inventor of Kevlar, portrayed in “Invention at Play.”

Since the Lemelson Center was founded in 1995, we’ve had the great fortune of researching, documenting, and highlighting an array of amazing historic and contemporary women inventors. One woman at the “Girls Get Science” event came up to tell me she was proud to know already about Kevlar® inventor Stephanie Kwolek, who I mentioned during the Q&A as one of my favorite women inventors I had the opportunity to meet. It turned out she learned about Kwolek while visiting the Center’s Invention at Play exhibition that I worked on as the project historian and later project director. Kwolek is one of 6 featured case studies in the exhibition, along with stories of other women inventors including Marjorie Stewart Joyner, Sally Fox, and Gertrude Elion, Patsy Sherman, Ruth Foster, Krysta Morlan, Ann Moore, and Lydia O’Leary, and Annetta Papadopoulos of the IDEO team.

Inventor Patricia Bath meets with female students.

Patricia Bath, inventor of the Laserphaco Probe, talks with female students during an Innovative Lives presentation.

Some of the women inventors above were participants in the Center’s Innovative Lives program series. You can read more about them there along with: Patricia Bath, inventor of the Laserphaco Probe for the treatment of cataracts; astronaut and electrical engineer Ellen Ochoa; and GirlTech founder Janese Swanson. For a sampling of additional stories, please read my colleagues’ thoughtful “Bright Ideas” blogs about Fresh Paper inventor Kavita Shukla and “Boater” diaper cover inventor Marion O’Brien Donovan, and referring to actress/inventor Hedy Lamarr at the end of a recent blog about Michael Jackson (yes, he was an inventor too!). Also, listen to some fascinating Inventive Voices podcasts both with women such as POPVOX.com co-founder Rachna Choudhry, NASA food scientist Vicki Kloeris, and neonatal products inventor Sharon Rogone, and about women like industrial psychologist Lillian Gilbreth, computer programmer Grace Hopper, and hair care products entrepreneur Madam C. J. Walker. Finally, for more historical perspective, check out a 1999 article by Center senior historian Joyce Bedi titled “Exploring the History of Women Inventors.”

The Lemelson Center is always looking for more and different stories from and about women inventors and is interested in documenting them throughout American history. If you have stories to share, let us know. Happy women’s history month!

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Michael Jackson, Patented Inventor?

On March 25, 1983—30 years ago—Michael Jackson performed the moonwalk for the first time during his performance of “Billie Jean” on NBC’s Motown 25th anniversary special. While the move may have originated with James Brown, the moonwalk will forever be associated with Jackson, meaning you’ve probably seen headlines and Facebook statuses celebrating the 30th anniversary of the invention of the moonwalk.

Perhaps not surprisingly, the moonwalk is not literally a patented dance move. However, Michael Jackson does hold a patent. Awarded jointly to him and to two of his costume-men in 1993, the patent described specially designed shoes that gave the illusion of his leaning beyond his center of gravity. The move and the associated gadget were created for his 1988 music video, Smooth Criminal.

patent drawing of Michael Jackson's Smooth Criminal shoes.

A patent drawing from Michael Jackson’s application.

Shortly after Jackson’s passing in 2009, our director Art Molella wrote about his inventiveness:

“We shouldn’t be all that surprised by Jackson’s invention; he was a known technological enthusiast. Consider, for example, that widely publicized video arcade he installed at Neverland Ranch. Jackson was a gamer. Still, I was somewhat taken aback by reports that he once planned to build a fifty-foot robot likeness of himself that would roam Las Vegas publicizing his acts, an image as much threatening as it was peculiar. That he not only invented but also sought and earned a patent is no mystery. Protecting an invention would come naturally to a man who zealously guarded his music rights and was reported to have acquired the copyrights to the Beatles’ songs. Then again, perhaps being certified by the U.S. Patent and Trademark Office as a bona fide inventor conferred a kind of status and satisfaction that even Hollywood could not bestow.”

As Art points out in that column, many other musicians and movie stars are also inventors:

“Jackson was far from the only “patented” celebrity performer. For instance, his friend Marlon Brando also dabbled in invention, at least toward the end of his life when he earned several patents related to a device for tuning drumheads. One can envision him on some beach in Tahiti, turning out invention ideas to the beat of bongos. The ranks of improbable inventors also include two of the Marx brothers, who showed that even comic geniuses could take to the serious task of invention. Unlike Jackson’s and Brando’s, however, their inventions did not relate specifically to entertainment, at least not directly. Zeppo (Herbert), considered the mechanical genius of the family, patented a cardiac pulse-rate monitor, while Gummo (Milton) earned his patent for “Improvements in Packing-Racks,” something that undoubtedly came in handy for life on the road.

Patent drawing by Zeppo Marx of a pulse tracking watch mechanism.

Patent drawing for a “method and watch mechanism for actuation by a cardiac pulse” filed by Zeppo Marx.

Patriotism motivated other performers. During World War II, the stunning Austrian-born movie star Hedy Lamarr approached her Hollywood neighbor, the avant-garde composer George Antheil, about contributing ideas to the National Inventors Council, established under the National Bureau of Standards to solicit inventions from U.S. citizens for the war effort. She even thought of cashing in her acting career to become an inventor. Their 1941 patent for “frequency hopping” was applied to secret communications and to radio-guided torpedoes, among other weapons. Eventually, some of this technology found its way into Wi-Fi networking and wireless telephony.”

Patent drawing for "Secret Communications System" filed by actress Hedy Lamarr.


U.S. Patent Number 2,292,387 granted on August 11, 1942, to Hedy Keisler Markey aka Hedy Lamarr and George Antheil for a “Secret Communications System.”

At the Lemelson Center, we believe that everyone is inventive—and as Michael Jackson, Zeppo, and Hedy Lamarr demonstrate, that includes the rich and famous.

Editor’s Note: This post quotes from a 2009 article by Art Molella titled “Notes from the Director: National Inventors’ Month,” which first appeared in our newsletter, Prototype.

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Building Bridges, Building Collections

Last fall my family trekked across two historic bridges—the Poughkeepsie Highland Railroad Bridge and the Mid Hudson Bridge. The Poughkeepsie Highland Railroad Bridge spans the Hudson River connecting Poughkeepsie and Highland, New York. Designed by John F. O’Rourke, it was built as a double track railroad bridge by the Union Bridge Company of Pennsylvania. Construction began in 1886 and the bridge operated from 1889, when it was completed, until 1974. At the time it was the only fixed railroad crossing of the Hudson River between New York City and Albany, providing freight a more direct route between New England and the Midwest. Today, the bridge is operated by the New York State Historic Park System and is open to pedestrian and bicycle traffic only. The Mid Hudson Bridge, also known as the Franklin Delano Roosevelt Mid-Hudson Bridge, opened in 1930. It is still fully operational and is open to foot, bicycle, and vehicular traffic.

Hudson River Bridge illustration

Illustration of Hudson River Bridge at Poughkeepsie, New York, “Keystone Bridge Album,” undated. Source: NMAH Archives Center, AC0060-0001444.

Bridges span all sorts of spaces and allow us to cross those spaces, by foot, bicycle, car, train, or bus. Made of a variety of materials—steel, wood, rope, cement, brick, and iron—bridges can also be fixed, moveable, or covered. Some of the most common types of bridges are beam, arch, suspension, and cable. Bridges are engineering marvels which require substantial planning from the very foundations to the spanning arches and connecting cables. Each bridge tells a story—its successes and failures. In all honesty I hadn’t thought much about bridges—they just were there to help me get from one place to another—until the day I walked those two bridges. As it turns out, I am surrounded by a wealth of information about the history of bridge design, building, and construction right here at the Archives Center. Our civil engineering collections tell some of the stories of design, construction, use, damage, reconstruction, rebirth, and celebration.

Specs for iron truss bridge.

Specification for iron truss bridge of the Wrought Iron Bridge Company of Canton, Ohio, undated. Source: NMAH Archives Center, AC0060-0001446.

The Archives Center’s vast civil engineering collections are expansive and rich in content. From 1958 to 1988, the Division of Mechanical and Civil Engineering (now the Division of Work and Industry) amassed a critical body of archival material documenting bridges, most of which is available for research through the Archives Center. Consisting of a total of approximately 313 cubic feet (more than fifty collections), the materials document bridge design, construction, and the civil engineers who made it happen in the United States and Canada from the 1860s to the 1950s. The collections contain a wide range of documentation from engineering company records to the personal papers of civil engineers to bridge ephemera such as postcards, trade cards, advertisements, business cards, and placemats acquired by hobbyist collectors.

Ad for Berlin Construction Company.

Berlin Construction Company advertising card, undated. Source: NMAH Archives Center, AC0060-0001442.

Photographs, specifications, ephemera, advertisements, blueprints, reports, maps, invoices, stock certificates, diaries, sketches, patents, correspondence, and artifacts help tell the story of bridge building. The numerous collections intersect and complement each other. For example, the Quebec Bridge Photograph Collection, 1905-1986 (bulk 1905-1916), is an example of a collection that “bridges” other archival collections. Photographic documentation chronicling the bridges construction in 1907, along with artifacts—a sheared-off rivet head and half of a nut—from the first Quebec Bridge (1907) and subsequent enquiry drawings (1908) to the bridges collapse form part of the Division of Work & Industry’s holdings. The Records of Modjeski and Masters Company document engineer Ralph Modjeski who worked on the Quebec Bridge. Modjeski later worked with George S. Morison (1842-1903) in a variety of capacities. The George S. Morison Collection, 1861-1903, John A. Roebling’s Sons, well known builders of the Brooklyn Bridge, the Niagara Falls Bridge Commission Records, 1848-1946 (bulk 1890-1929)Berlin Construction Company Records, circa 1904-1957, and the Bollman Truss Bridge Collection, 1852-1986 are just some of the collection highlights. Other collections with strong ties to bridge building and civil engineering are the Foundation Company Records, circa 1887-1962, documenting a New York subaqueous concrete construction firm and the Cummings Structural Concrete Company Records 1884-1952, documenting Robert Cummings, an early advocate of reinforced concrete construction.

Quebec Bridge Board of Engineers, circa 1910s.

Photograph of Quebec Bridge Board of Engineers standing in bridge cantilever, left to right: Ralph Modjeski, Charles Monsarrat and C.C. Schneider, circa 1910s. Source: NMAH Archives Center, AC0976-0000004.

Smaller archival collections, primarily comprised of ephemera, also provide insight into civil engineering through a different lens, that of the bridge enthusiast or hobbyist. Many bridge enthusiasts traveled extensively throughout the United States, documenting their passion for bridges through photographs and postcards. An example of this is the Lucinda Rudell Covered Bridges Collection, 1942-1979, which contains ephemera, such as this placemat documenting covered bridges throughout the United States.

Placemat featuring covered bridges.

Placemat depicting views of covered bridges, circa 1960s. Source: NMAH Archives Center, AC1028-0000001.

The Warshaw Collection of Business Americana contains a wealth of ephemera documenting bridges such as this novelty mechanical postcard “The Bridge Girl” (Queensboro Bridge). The moveable bridge part allows the display of the postcard to change and “The Bridge Girl” appears. A cantilevered bridge designed by Leffert L. Buck (1837-1909) and Henry Hornbostel (1867-1961), the Queensboro Bridge was finished in 1909 and today is known as the Ed Koch Queensboro Bridge. Caricatures of civil engineers Elmer L. Corthell and Charles Sooysmith and the Ralph Modjeski image with fellow engineers provide the human face to bridge technology—a reminder that humans designed, built, and ultimately used the bridges. The Warshaw Collection also contains business records, such as this 1896 receipt for ribbon wire from John A. Roebling’s Sons Company, and a published illustration of Colin Shakespear’s Portable Rope Bridge. The Smithsonian Institution Libraries Trade Literature Collection also contains a rich resource of trade catalogs about bridge manufacturers, with detailed information such as specifications, costs, illustrations, and photographs. Many of the catalogs contain company histories with crucial information about bridge projects.

Postcard titled "The Bridge Girl"

Postcard titled “The Bridge Girl,” Queensboro Bridge, [1909?]. Source: NMAH Archives Center, AC0060-0001451-01.

Postcard titled "The Bridge Girl"

“The Bridge Girl” appears. Source: NMAH Archives Center, AC0060-0001451-02.

Caricature of Charles Sooysmith.

Caricature of Charles Sooysmith (1855-1916), civil engineer and bridge builder. Sooysmith designed the Central Bridge over the Harlem River. Source: NMAH Archives Center, AC0060-0001449.

Caricature of Elmer L. Corthell.

Caricature of Elmer L. Corthell (1840-1916), civil engineer and bridge builder. Corthell designed the Cairo Bridge (1887-1889) over the Ohio River, the longest metal bridge in the world at that time. Modjeski and Masters were awarded the construction contract for the Cairo Bridge. And, Corthell was the associate chief engineer for the project under George S. Morison, a civil engineer who specialized in large bridges. Source: NMAH Archives Center, AC0060-0001450.

Artifacts related to bridge building—bolts, cable wires, wire samples, plates, expansion joints, beam sections, trunnels (wooden pegs used to fasten timbers) struts, patent models, gauges, surveying instruments, and drafting tools—also provide insight into the work of civil engineers. These small, but significant artifacts, along with the paper and photographic documentation allow us to document and preserve large objects.

Portable Rope Bridge.

Colin Shakespear’s Portable Rope Bridge, “Mechanics,” Vol. XLIII, circa 1823. Source: NMAH Archives Center, AC0060-0001448.

Whether you’re looking for technical data on how bridges were designed and constructed or for ephemera depicting idyllic scenes of covered bridges in New England, visit the National Museum of American History and explore our civil engineering collections.

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Starting the Day Right: Coffee Innovations

While I can’t remember the first great cup of coffee that I ever had, I can certainly remember the last.  It was brewed here in our offices earlier this week with freshly ground coffee beans, the perfect amount of cream & sugar, and a strong caffeine kick that cleared my early morning brain fog.

Latte.

Photo from Wikimedia Commons.

After reading an article recently about the history of coffee making, I realize that I owe the pleasure of that enjoyable cup of coffee to a series of coffee related innovations, some that date back to the 15th century.  There’s the first coffee shop, which opened in 1475 in modern day Turkey; the percolator which was invented in 1818 by a metal craftsman; and the first paper coffee filter, invented by Melitta Benz around 1908.

But what I find even more fascinating are the very eccentric and somewhat quirky coffee related inventions that are popping up all over the world.  These include the coffee condiment stick, which contains pre-measured cream and sugar; the ‘Coffee Car’, a British vehicle that runs on discarded coffee grounds; and my personal favorite, the Handpresso, a portable espresso machine.

Coffee beans.

Photo from Wikimedia Commons.

I’m sure that I also speak for my fellow coffee addicts when I say that I look forward to innovation that continues to improve both the delivery and quality of our beloved ‘liquid gold’.

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Creating the Spark!Lab National Network

Shortly after the Lemelson Center opened Spark!Lab at the National Museum of American History in November 2008, we started receiving inquiries from museums, libraries, community centers, and individuals from across the country. Most had visited Spark!Lab with their family or had heard of it from a friend or colleague and wanted to know how they could get a Spark!Lab in their city or town. The reasons varied—from declining schools to museums in need of fresh programming to community centers wanting quality after-school programs for young students—but the message was clear: Spark!Lab offered a fun and innovative educational approach to STEM and creative learning, and offered opportunities for kids and their families to engage in the invention process.

Hands-on invention activities in Spark!Lab

Hands-on invention activities at The Discovery.

I’ll admit, the first few phone calls were pretty flattering and more than a little exciting. But when the calls continued and our floor staff began to relay similar messages from Spark!Lab visitors, I realized that we were onto something. It seemed that Spark!Lab might be able to fill the needs of institutions beyond the Smithsonian. So we began to develop plans to take Spark!Lab outside of Washington, DC, and to create the Spark!Lab National Network.

Like many ambitious projects, the Spark!Lab National Network didn’t take shape overnight (despite my sincere wishes otherwise). First, we had to figure out if we could even lend our content and the Smithsonian and Spark!Lab names to a non-Smithsonian entity. (According to the Smithsonian’s Office of General Counsel: yes!) Then we had to consider how we would run a project like this while still maintaining our presence at the Museum. How would we ensure quality and consistency of experience at labs we didn’t directly manage? How would we select locations for Spark!Labs? How much would a Spark!Lab cost and what would that fee include for our collaborators?  Perhaps the most important question, how could we work with staff at our satellite locations to build their capacity for developing their own Spark!Lab activities and, collectively, become better at encouraging inventive creativity in all of our respective visitors?

The Terry Lee Wells Nevada Discovery Museum.

The first Spark!Lab off the National Mall opened in September 2011 at the Terry Lee Wells Nevada Discovery Museum.

Fast forward to September 2011, and we celebrated the opening or our first Spark!Lab National Network site—a prototype of sorts—at the Terry Lee Wells Nevada Discovery Museum in Reno. Spark!Lab at The Discovery has provided incredible learning opportunities for everyone involved. For the Lemelson Center, it has helped shape our thinking about all sorts of things, from training to activity development to communication strategies to marketing opportunities. It has really laid the groundwork for the expansion and development of the Network. And thanks to a generous gift from the Ford Motor Company Fund, this expansion is in the works! Their gift, announced at the Washington Auto Show in late January, will provide funding for us to expand to three additional U.S. museums. It will also provide much-needed support for the design of the new Spark!Lab at the National Museum of American History, which will open in 2015.

Ford Donates $500,000 to the Smithsonian -- Edsel Ford II (standing center), great-grandson of Henry Ford, announces a $500,000 contribution to the Smithsonian National Museum of American History and Lemelson Center for the Study of Innovation for its educational Spark!Lab program at the 2013 Washington Auto Show. Edsel Ford pictured here with Ford Motor Company Group Vice President of Government and Community Relations Ziad Ojakli (standing third from right), Vice President of Sustainability, Environment and Safety Engineering Robert Brown (standing between Ford and Ojakli), representatives of the Smithsonian, and fourth grade students from Cornerstone Schools of Washington D.C.  Photo by Sam VarnHagen/Ford Motor Co.

Ford Donates $500,000 to the Smithsonian — Edsel Ford II (standing center), great-grandson of Henry Ford, announces a $500,000 contribution to the Smithsonian National Museum of American History and Lemelson Center for the Study of Innovation for its educational Spark!Lab program at the 2013 Washington Auto Show. Edsel Ford pictured here with Ford Motor Company Group Vice President of Government and Community Relations Ziad Ojakli (standing third from right), Vice President of Sustainability, Environment and Safety Engineering Robert Brown (standing between Ford and Ojakli), representatives of the Smithsonian, and fourth grade students from Cornerstone Schools of Washington D.C. Photo by Sam VarnHagen/Ford Motor Co.

Edsel Ford II joins fourth grade students Miniyah Peterson (center) and Raeanna Nelson (right) from the Cornerstone Schools of Washington D.C , in a Smithsonian Spark!Lab activity creating a sound pathway for marbles, one of the Spark!Lab activities. Photo by Sam VarnHagen/Ford Motor Co.

Edsel Ford II joins fourth grade students Miniyah Peterson (center) and Raeanna Nelson (right) from the Cornerstone Schools of Washington D.C , in a Smithsonian Spark!Lab activity creating a sound pathway for marbles, one of the Spark!Lab activities. Photo by Sam VarnHagen/Ford Motor Co.

We’re now starting to come off cloud nine and begin the real work of identifying potential partner museums and developing content and activities for these new sites. We are thrilled to be able to take Spark!Lab to other communities, and to start to create a true network and community of educational practice around invention and innovation. We’re also excited to be talking about the Spark!Lab National Network to museum colleagues at two upcoming conferences—the Association of Children’s Museums InterActivity event in Pittsburgh in April and the American Alliance of Museums Annual Meeting in Baltimore in May.  If you’re interested in learning more about the Spark!Lab National Network or bringing Spark!Lab to your community, let us know in the comments or email us at sparklab@si.edu!

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A Unique Way to See the World: Skateboarders and Inventors

In December, I shared my experiences traveling to Orlando, Florida in 2011 to begin a new Lemelson Center initiative into the exploration of invention, innovation, and creativity in skateboarding culture.  Our work and research continued with a visit by skateboarding legend Rodney Mullen this past summer who spent a wonderful couple of days at the Lemelson Center discussing the role of innovation not only in skateboarding, but its critical importance to the larger society—both historically and in the future.

During his visit, Rodney graciously allowed us to record a video podcast which debuted this past December. The goal of the podcast was simply to let “Rodney be Rodney” and allow him the opportunity to explain his thought process and approach to skating and innovation. The response to the podcast has far exceeded our expectations with over 70,000 views so far. Of course, this is due to Rodney’s stature and popularity in the skateboarding community. But the posted comments to the video reveal that we are succeeding in establishing an important connection between skateboarding and innovation and between the skate community and the Lemelson Center. One the pure joys of working at the Lemelson Center is the opportunity to bring disparate groups of people together through the interdisciplinary connection of invention and innovation. This includes scholars with public audiences, young kids with inventors, and even skateboarders with museum professionals.

Rodney Mullen talks skateboarding and innovation.

Rodney shares some of his thoughts on skateboarding and innovation with me on the roof of the Museum.

As part of our continued work together, the Lemelson Center, in collaboration with the International Association of Skateboard Companies, plans to feature skate culture with a major public festival—Innoskate—on June 21 and 22, 2013, as an extension and compliment to the celebration of the 10th anniversary of global Go Skateboarding Day. Innoskate will celebrate invention and creativity by sharing skate culture’s widespread innovative spirit with the Museum’s public audiences. Innoskate activities will feature skate demonstrations, panel discussions, films, donations of skate objects to the national collections, and other programs to showcase the impact of skate culture’s innovations in American culture. (Stay tuned for more information to come.)

As part of the planning process, I had the pleasure to welcome Ryan Clements (of Excel Management and formerly of Skatepark of Tampa), to the Museum in early February. Ryan is a highly respected member of the skate industry and is playing a key role as part of the Innoskate planning committee. His insights and assistance have been extremely valuable. As part of our planning and discussions, we found ourselves on the Museum’s large plaza fronting the museum’s entrance on the National Mall. Most of Innoskate’s activities and programs will take place on the plaza in a large area that is defined by large planters, built-in benches, and a short set of stairs. Primarily, we were looking at this area because of our intention to install a mini-ramp here for skate demonstrations during Innoskate. But Ryan immediately saw the potential of the built environment, the surrounding architecture of benchers, planters, and such, for developing a “do-it-yourself” project of constructing ¼ pipes and placing them up and against the surrounding architecture to demonstrate various aspects of street skating. (This is a new addition to the program that we are actively pursuing.) But significantly, where I saw a place to sit, Ryan saw a place to skate and to create.

Benches outside the museum are a draw for skateboarders.

Just benches? Or a skater’s paradise?

Later that day, as Ryan and I were walking out of the Museum, we continued discussing the intersection of innovation and skateboarding and the role of “terrain” or the built environment in skate culture. As a skater, Ryan said that he was constantly thinking of new ways to skate the world around him. And it’s not just the stairs, hand rails, and curbs that present such opportunities, but just about anything and everything he sees—Ryan told me that he once tried to figure out how to skate a huge pile of dirt. In his effort to help me understand this phenomenon, Ryan explained that “skaters just view the world around them through a different lens than most others,” constantly using their own creativity and self-expression to move through their world.

Ryan’s observation literally stopped me in my tracks. His self-reflection about how skaters view and understand the world around them resonated deeply with how inventors often describe themselves.  Inventors often share a distinct mindset—a compulsion to solve problems and to find ways to improve the things around them. In particular, Jerry Lemelson, who founded the Lemelson Center with his wife, Dolly, has often been described as a man who couldn’t help but constantly think about how to improve the things he encountered in his world. It is not uncommon for inventors to state that they, too, view the world a bit differently than most others.

Tony Hawk donates skateboard to the Museum.

Tony Hawk signs deed of gift for his skatedeck in 2011. Curator Jane Rogers and I are standing by. Photo by Lee Leal, Embassy Skateboards

So does this correlation suggest that all skaters should start hiring patent attorneys or that all inventors should head out to the nearest skate shop for a new skateboard? Not necessarily—though of course there are skateboarders who are inventors and inventors who skate. But in the effort to illuminate the history of invention and to understand the factors that influence how, when, where, and why innovation occurs, we should take notice of the fact that highly creative and innovative people seem to share a common characteristic of being able to engage their world—not for what it is, but for what it has the potential to be.

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Inventing an Exhibition, Part II

Last summer I wrote a blog post about the 10% preliminary design phase of the Lemelson Center’s Places of Invention project and how exhibition development often mirrors the inventive process. In those early days of working with our exhibition design firm Roto we focused on the “Sketch It!” step, relying on their expertise to bring visual life to our highly researched, content-rich, but conceptually abstract topic.  At the end of this official 10% design phase we had an exhibition floor plan, artistic renderings, and fun art direction boards for a concrete and colorful manifestation of our exhibition that we could share with project stakeholders and potential funders.

Invention Process Infographic

The “Create It!” step of the invention process next came into play. The second official phase of Smithsonian exhibition planning is called “35% conceptual design,” and for Places of Invention this phase began in October 2012 and runs through the end of March 2013. Now the Lemelson Center/NMAH-Roto team is collaborating to hone details of the design, including detailed floor plan, object layouts, graphics, typography, colors, lighting and acoustic-abatement needs, and specifications for mechanical interactives and multimedia. This is also the time for preliminary estimates for how much all of these elements are going to cost, which is where the proverbial rubber meets the road for decision making as we move forward.

The exhibition team was thrilled to see a version of "Places of Invention" come to life.

The exhibition team was thrilled to see a version of “Places of Invention” come to life.

During the 35% design period of any exhibition’s development, I believe it is very important to conduct formative evaluation, which Randi Korn & Associates (RK&A) defines as testing “interpretive ideas and components for their functionality and ability to communicate content.” This could be termed the “Test It!” invention step. Fortunately, the National Science Foundation grant for Places of Invention supports three stages of evaluation: front-end (which RK&A conducted in summer and fall 2011); formative (two phases during 2013); and summative (at the end of the project).

The prototyping process featuring two case studies--Hartford, CT, and Hollywood. The Hollywood story looks at the development of Technicolor.

The prototyping process featuring two case studies–Hartford, CT, and Hollywood. The Hollywood story looks at the development of Technicolor.

So, we brought Roto and RK&A together and came up with a plan to do a first round of formative evaluation prototyping at NMAH during late January. Although this is generally a slower time at the Museum, with fewer tourist traveling to the nation’s capital between the winter holidays and spring breaks, we had the advantage of two major events coinciding—President Barak Obama’s second inauguration and Martin Luther King, Jr. holiday—that attracted many thousands of visitors. We figured enough people would hang around afterwards to visit the famous local sites, including the Smithsonian museums on the Mall, to garner walk-in visitors willing to participate in our evaluation.

In the Hartford section, visitors were tasked with using a jig to twist wire into a business card holder--or whatever else they could invent!

In the Hartford section, visitors were tasked with using a jig to twist wire into a business card holder–or whatever else they could invent!

Over three days, January 23-25, staff from Lemelson Center, Roto, and RK&A collaborated to conduct formative testing. We mocked up two exhibition case studies—Hartford, Connecticut and Hollywood, California— and also the “Interactive Map,” a participatory exhibit that asked visitors to share stories of their places of invention by writing comments to post on a U.S. map or by taping short videos on a laptop computer. The basic evaluation objectives were to explore general usability and understanding of intended exhibition messages. RK&A recruited walk-in adult visitors who were visiting alone or with children 10 years and older. RK&A then observed these visitor groups while they used the exhibition elements, including reading labels, looking at images, trying out interactives, and watching videos inside the case study areas and at the Map. Finally, RK&A interviewed the visitors and recorded data in handwritten notes. At the end of each day of prototyping, folks from the Lemelson, Roto, and RK&A teams gathered to discuss visitor feedback and interactions in order to “Tweak It!” for the next day. It was a fun, constructive, and exhausting process.

On the interactive map, we asked visitors to leave stories about their places of invention, either through Post-Its or videos.

On the interactive map, we asked visitors to leave stories about their places of invention, either through Post-Its or videos.

We recently received the final report from RK&A, which includes careful analysis of the visitor observations and interviews and very constructive recommendations. This document has already helped us focus on key changes and improvements to the exhibition (the “Tweak It!” stage) while also provided us with enough objective information to know we are headed in the right direction. So onward we go through the final weeks of conceptual design, and then we can look forward to the “65% design development” phase through fall 2013. Keep an eye out for more reports from me along the way!

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Eco-Cities: Can They Work?

From time to time in earlier columns, I have reported on the rising global phenomenon of eco-cities, an urban innovation touted as one of the solutions to conjoined problems of urban sustainability, environmental degradation, and climate change. While eco-cities were proposed as early as the 1970s, they have only become real in the last decade or so, with announcements of the construction of model eco-cities Dongtan, near Shanghai, China, and Masdar, near Abu Dhabi, UAE. Hundreds more are now underway or about to be launched worldwide. But can these cities really do the job their advocates claim they will? Along with Westminster University (UK) and the Johns Hopkins University, the Lemelson Center is co-sponsor of the International Eco-City Initiative.  Among the products of the collaboration is a new study of eco-city standards, which attempt to put these new cities to the test.

“Tomorrow’s City Today—Eco-City Indicators, Standards & Framework”

This recently published Bellagio conference report addresses a key area of contemporary sustainability research and policy: how to define “indicators” and “standards” for sustainable cities, or “eco-cities.” I interviewed the report’s editor, Simon Joss of the University of Westminster.

 

What are eco-cities and why are they important?

Ideas and propositions about eco-cities have been around for at least three decades, and the last five years or so have seen a considerable global mushrooming of practical eco-city initiatives. In the recent survey carried out by our research group, we identified at least 178 eco-city projects globally, although this may be a conservative figure: in China alone, there are reportedly over 250 cities embarked on eco-city development!

That said, defining the eco-city is challenging, for both theoretical and practical reasons. Conceptually, beyond the general idea of eco-cities being more sustainable than current “conventional” cities, it is quite difficult to settle on specifics. There is no agreed norm or standard of what counts as an eco-city. Even agreeing on the basic balance between environmental, economic, and social goals of sustainability can be tricky. Practically, the fact that eco-city initiatives are applied in often vastly different national, cultural, and economic contexts means that they end up taking diverse forms and shapes: a city generating ten per cent renewable energy may be ambitious in, say, India, while the threshold is typically much higher in European cities, such as Freiburg (Germany) and Stockholm (Sweden), with several decades more experience.

However, there are some general, global trends that I think drive current eco-city innovation, against the background of the dual challenges of global climate change and rapid urbanization (in 2008, for the first time in human history the majority of people lived in cities), particularly in Asia and Africa. Among these is the policy of “ecological modernization” which seeks to decouple economic growth from environmental degradation. An illustrative example here is the World Bank’s Eco2 Cities initiative which goes by the slogan “environmental city as economic city.” Another trend is increasing international knowledge transfer, with international architecture, technology, and engineering firms playing a central role. Furthermore, the “carbon” discourse has become a core characteristic of the modern eco-city, as illustrated by terms such as “low-carbon,” “zero-carbon” or “carbon-neutral” cities. In this sense, the eco-city has become more ubiquitous in comparison to earlier examples from the 1970s and 1980s which were much more locally defined.

Wind farm at Caofeidian International Eco-City, about 50 miles south of the port city of Tangshan and somewhat farther from Beijing. Courtesy of SWECO.

Where is the major action today in building eco-cities?

If I had to pick one global region, I would choose Asia, where a whole range of new eco-city initiatives have been launched within just the last few years. As mentioned, this is mainly due to the unprecedented urbanization occurring there—China is said to have to build a new city of the size of New York every year for the next twenty years to accommodate people migrating into urban areas. Similar developments can be observed in India, Indonesia, and Africa. A further factor that I witnessed on visits to China and South Korea is the determination to be at the forefront of technological innovation: one really gets the sense that the new urban age is being shaped in and across Asia.

Of course, innovation in sustainable urbanism is currently also taking place in many European and North as well as South American cities. The recent eco-city initiative of Alexandria (VA), or the eco-districts in Portland (OR) may not be on as large a scale as Masdar (United Arab Emirates) or Sejong (South Korea), but they are just as illustrative of the global attempt to transition to a low-carbon economy.

Artist Impression- Aerial View of Proposed Master plan of Masdar City (Eastern Orientation). Courtesy of Masdar City.

Why should we care about “standards” and “indicators”? In fact, what are they and what problems are they supposed to address?

History teaches us that once in a while a process of consolidation and standardization occurs, often as a result of technological innovation: for example, in the late 19th century when the increasingly ubiquitous application of electricity in daily life prompted the need to develop standardized electrical power systems (though we still often have to pack adaptors when traveling abroad!). Similarly, as more and more cities, businesses, and political organizations strive to implement sustainable strategies and practices, at some point the need arises to develop a “common language.” Otherwise, how can we agree on a bottom line and framework for sustainable cities? It is for this reason that there has been a recent flurry of eco-city indicators, standards, and frameworks. While this is partly driven by efforts by scientists and policy-makers trying to define various aspects of urban sustainability, it is no doubt also driven by business interests aimed at marketing urban sustainability as a “product.”

Our new research initiative, which involves the Lemelson Center along with several other partners across the world, aims to contribute to this emerging debate. We are interested in mapping the various approaches to eco-city indicators and standards—there are so many schemes that we first need to take stock of what is out there—followed by in-depth analysis of how individual approaches actually work: how they contribute to defining sustainable urbanism, guiding policy implementation, and encouraging practice learning among scientists, policy-makers, planners, business, and citizens.

One of the challenges our project will have to grapple with is at which level indicators and standards are most appropriate. Perhaps expecting standards or frameworks to emerge at the global level is unrealistic, given the vastly different local contexts of cities across the world. Then again, reducing carbon emissions is a global concern, which suggests the need for comparable, international measures.

Apart from generating knowledge, we hope that our research will also directly contribute to policy debate and practice innovation. For example, one of our partners is the Clinton Foundation’s Climate Positive Development Program, through which we will have access to, and will be in dialogue with, cities across the world.

London Building With Integrated Wind Turbines. Photo by Christine Matthews, via Wikimedia Commons.

What is and should be the role of technological and other sorts of innovation in the development of eco-cities?

Engineering and technology firms have increasingly become centrally involved in developing eco-city indicators and frameworks. The reason is obvious: cities are one of the main sources of energy consumption and greenhouse gas emissions. So, attempting to effect a transition to a low-carbon economy, one inevitably has to address urban development. Given this focus on energy, it is no surprise that technological innovation is to the fore. At the same time, increasingly various “smart” urban technology solutions, based on information and communication technologies, are applied to manage urban infrastructure and services. Together, these open up huge business opportunities: hence, the current jostling among international technology firms for a market share in urban development. However, as a political scientist, I would add a word of caution: a city is not just a “system,” and not just made of infrastructure; it is also a center of social, cultural, and political activity. Therefore, we surely also need social and cultural entrepreneurs to get involved in eco-city innovation!

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Sound and Vision

Editors Note: This is a follow-up to “It’s in the Details,” Anna’s recent blog about fiber artist Timothy Westbrook and his use of repurposed materials. Originally from upstate New York, Westbrook has enjoyed becoming part of Milwaukee’s robust arts community, itself at the center of a vibrant place of invention

Donated audio cassette tapes in Westbrook's studio

 

Westbrook's "The Unicorn Maiden" comprised of woven cassette tape with cotton, blue velvet curtains, bed sheets, a Victorian hand-embroidered curtain, and a Victorian unicorn button. Modeled by Raquel and styled by Alexis Rose. Photo by Gerard Heidgerken at BarelyPractical.com.

“Blue, blue/
electric blue/
that’s the color/
of my room/
where I will live— /
blue, blue—”

These lyrics from David Bowie‘s “Sound and Vision” have been lolling through my mind ever since I began thinking about the hand-woven cassette tapes in Timothy Westbrook‘s
designs. If it wasn’t for Bowie, after all, or the Clash or the Ramones or Troublefunk (you get the picture), I might not have felt such a familiar and sentimental pull towards Westbrook’s use of crinkly, sparkly, magnetic cassette tape. Who knew that old cassettes full of hiss could LOOK so good. Recognizing the tape in Westbrook’s jackets, dresses, and scarves was like seeing an old friend in a new context. In Westbrook’s Pfister Hotel studio, once-loved tape was woven into shimmering new life with pearl cotton, wool, and blended silk bamboo.

For those who remember, cassettes were high-maintenance friends: easily degraded by heat and humidity, often stuck in Walkmans, and with a tendency to spew ribbons of crumpled tape that had to be carefully rewound with a pencil. (This was best-case scenario: more often, the tape was mangled.) You work with what you have and I loved that technology. Soundtracks, mix tapes, and “cassingles” got me through.

Where do all the old “new technologies” like cassette tape go, though? I often think about that here at the Lemelson Center where we study innovative technology that supplants the old. While collections documenting the history of invention are carefully preserved by the Smithsonian and its counterparts, cassettes mostly go from shoe boxes to giant landfills where they degrade and leach pollutants into our water table and get into our food chain.

Details of Westbrook's woven cassette tape

Thankfully, artists like Westbrook are inspired to re-think this cycle and imagine how materials can be repurposed. Each of his gowns, for example, use between 6 and 12 yards of cassette tape. He makes it a point to never use virgin materials: “The goal is zero-waste which is often confused as ‘take this rectangular fabric and make a muumuu wrap dress.’ I simply mean do not throw anything away that is not biodegradable.”

Naysayers who think eco-friendly/sustainable fashion means burlap and muumuus will be more than surprised when they see Westbrook’s holiday dress. Made from a combination of gospel and holiday tapes, wire hangers, roses, grommets, and a Mrs. Claus costume, the materials inspire humor and play a metaphorical role in the visual story of the dress. Varying tape colors add visual depth.

The "Alexis Rose" holiday dress made of gospel and holiday-themed audio cassette tapes, red velvet from a Mrs. Claus costume, wire hangers, and donated grommets filled with roses. Sue Lawton's "Willow Tree" is in the background.

The relationship between sound and vision is not only a constant in Westbrook’s work—it also is the inspiration for his experimentation with audio tape. As a child, time spent listening to books-on-tape with his blind grandfather made him think about ways that sensory experiences could be translated. What if the books they listened to could be transformed back into something visual that could be understood through touch?

"The Stripe" (right) with woven cassette tape and a cotton and vintage chiffon curtain. Modeled by Michael and styled by Alexis Rose. Photo by Gerard Heidgerken at BarelyPractical.com.

Asked about the challenges of his medium, Westbrook muses, “I don’t really have problems with the cassette tapes—only inspiration. The story is in the wording: cassette tape is a kind of ribbon. So where else do we hear ‘yarn, thread, string, rope, ribbon’? Fabric. Weaving. What are other related things? Line, floss, string—violin string!—electric wire, silk. All of a sudden new materials make themselves available.”

His ability to look at things differently—to see all of the preceding materials as monofilaments to be woven, for example—keeps Westbrook’s work evolving. Strong mathematical ability and a fertile imagination stoke this fire, even allowing him to think about similarities between the sensorial process of weaving and playing audio cassettes reel to reel.

"The Femme Nouvelle" made with woven cassette tape and wool and a scarf made with woven plastic bags and cotton. Modeled by Layna and styled by Alexis Rose. Photo by Gerard Heidgerken at BarelyPractical.com.

So what next? Coming off a successful final gallery night show at the Pfister Hotel, Westbrook is winding down his time as Artist-in-Residence. He plans to stay in Milwaukee where he will continue to explore new ways to create sustainable, low-impact works that challenge established ideas about luxury and beauty in our disposable culture. He is innately good at connecting different people, ideas, and industries together—an important figure in any thriving place of invention—and I expect we will hear remarkable things about the community-focused projects he and collaborator Alexis Rose have on the horizon.

Alexis Rose and Westbrook at his final gallery night show. Rose styled the show and was its creative director. Photo by Gerard Heidgerken at BarelyPractical.com.

Earlier today, New Yorkers had a chance to hear Westbrook speak at the GreenBizForum about every object’s potential reuse. 

Special thanks to BarelyPractical.com.

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