For decades, Herman Miller has been working to systematically minimize its impact on the earth. Environmental advocacy has always been one of the pillars of the company, and it always will be.

In 2010, it announced a goal of being carbon neutral by 2020. Not easy, but given the company-wide commitment and passion for the cause, I bet we make it.

Of course, we don’t hear much about all the positive work that’s making an impact on large and small scales. “Why Design Now?” shows that smart people are designing solutions to human and environmental problems all over the world, making life better, safer, and healthier.

It’s hard to pick a favorite display. They are all amazing in their own way. Maybe it’s the solar-powered LED streetlight that’s part of a living tree. Or maybe the device that converts ocean waves to electrical power. Or the web-based world-health map that displays and tracks disease outbreaks. Or the “Return to Sender” artisan eco-casket.

So if you think the world is beyond hope and problems are too huge to even think about, get to the Cooper-Hewitt. Or buy the beautiful book Why Design Now?, the catalogue created for the exhibition. It’s all good.

George Nelson, Herman Miller’s first director of design, always had the answer. He said, “Design is a response to social change.”

With urgent human challenges like climate, dwindling resources, growth, hunger, waste, poverty, and health—all on a global scale—Nelson’s celebrated quote is never more true than today. Why design now? Because more than ever, the design world needs to respond to change with solutions that are sustainable, practical, affordable, and safe. And we need solutions that inspire, raise questions, and help us move forward.

A selection of the most innovative answers are now featured at the “National Design Triennial: Why Design Now?”, an exhibition at the Cooper-Hewitt, National Design Museum. It opened May 14 in New York and runs through January 9, 2011.

The diverse designs are grouped into several categories:

Energy
Mobility
Community
Materials
Prosperity
Health
Communication
Simplicity

There are over 130 enlightening designs: from carbon-negative concrete made from a process similar to how corals make reefs (please, don’t ask me to explain), to self-adjustable eyeglasses (mass-made for the developing world), to the Viet Village organic urban farm near New Orleans. Go see it. These inspiring and exciting designs are helping to give people worldwide the means to improve the environment, improve their lives, and thrive.

AIGA executive director Richard Grefé said, “AIGA is proud to recognize the 2010 Medalists for their exceptional contributions to the field of design. Each has contributed to the way design can intrigue the spirit, engage curiosity, enhance business, explore creative use of visual technique, and communicate value that is respected by business, society and our popular culture.”

Steve has directed Herman Miller’s graphic identity for 40 years. His iconic work has been widely published and exhibited at institutions including the Museum of Modern Art, the Cooper-Hewitt, National Design Museum, and the Danish Museum of Decorative Art.

As Cheryl Heller, chair of the AIGA awards committee, noted, “Each Medalist this year is completely unique, yet all three are stellar examples of how to be a true leader and live a life in design.”

Unique? That’s what we love about Steve. Stellar? Definitely. At Herman Miller, Steve Frykholm is as iconic as his picnic posters. We’re honored to have him here.

A dress made out of salmon skin? Hot shot designer Yves Béhar helping women make hot chocolate? What in the world is going on?

If you’re going to be in New York City anytime before the end of the year, plan a visit to the Cooper-Hewitt National Design Museum and check out the “Design for a Living World” exhibit, which runs through January 4, 2010.

Developed by the Nature Conservancy,  it features fascinating objects from around the globe, all made from sustainable, natural materials and created by 10 leading designers in the fashion/art/industrial design world, including Yves Béhar, Maya Lin, and Kate Spade.

“Our goal with the exhibition is to connect audiences to nature by exploring the story of place through innovative design,” said Mark Tercek, president and chief executive of The Nature Conservancy. “(The exhibit) challenges us to think about the products we use—where they come from, how they’re made, and what the impacts are on our planet and on local communities.”

With items such as a dress and matching shoes made from salmon skin (typically a waste product of the fishing industry) and a purse made out of wood, it’s also a lot of fun. Here’s a quick sampling of what you’ll see:

Béhar (designer of Herman Miller’s Twist LED task light, Leaf personal light, and Ardea personal light) focused on Costa Rican chocolate for his entry. Working with local women who make and sell a traditional hot drink using cocoa, he developed a device to make scraping the cocoa easier, along with a jute bag to hold it, the cocoa patty, and how-to instructions.

Industrial designer Stephen Burks traveled to Australia to create the “Totem,” a tool made from reclaimed native jamwood that the local Noongar people can use to make and package a line of organic herb-and-sandalwood-based cosmetics they’re developing for export.

Dutch designer Hella Jongerius explored other uses for chicle, a tree residue in Mexico’s Yucatan Peninsula that’s used for chewing gum products, and came up with more than 20 vessels and plates embellished with the substance.

Abbott Miller, partner in the New York design firm Pentagram, is co-curator of “Design for a Living World,” along with Ellen Lupton, curator of contemporary design at Cooper-Hewitt.  Known for his innovative installations at the Rock and Roll Hall of Fame and the Harley-Davidson Museum, Miller says his goal with the exhibit is to “open an important conversation between conservationists and designers about the potential and legacy of natural materials. By choosing sustainable materials, designers contribute to the advancement of a global conservation ethic that can foster consumer awareness.”

It’s all quite intriguing. But if you can’t make it to the “Design for a Living World” exhibit in person, at least take a look at this “sneak preview” on treehugger.com.

By Keasha Palmer