The Smithsonian's Cooper-Hewitt National Design Museum has chosen Milton Glaser, an icon of American graphic design and the creator of the "I{heart}NY" logo, to receive the 2004 National Design Award.

The announcement scheduled for Monday takes note of the New York designer's multifaceted career. Over more than five decades, Glaser has created logos, advertisements, posters, publications, books, exhibitions, stores and restaurants. He rose to prominence in the 1950s as a co-founder of Push Pin studios. The firm became known for the humorous decorative qualities that led to postmodernism. In 1968 Glaser founded New York magazine with Clay Felker. Their success influenced the development of city magazines across the country. With Walter Bernard, Glaser went on to reshape magazines and newspapers around the world. (Their design for The Washington Post was implemented in 1984, though with the introduction of color and a smaller page in 1998, today's newspaper has been significantly altered.)

Bob Dylan fans (Glaser designed the "Greatest Hits" album cover) and patrons of Windows on the World, the restaurant atop the ill-fated World Trade Center, were treated to Glaser's colorful, often whimsical graphic riffs. He designed more than 300 posters announcing museum exhibitions, concerts and special events. After a fire at Wolf Trap in 1982, Glaser created a poster celebrating the Northern Virginia performing arts center's revival. Inspired by the rising phoenix, he designed a tree of soaring flame-red birds against a midnight blue sky. An image on Glaser's Web site, www.miltonglaser.com, shows that fantasy of color under a banner that reads "Wolf Trap Lives, 1982."

After the terrorist attack of Sept. 11, 2001, Glaser offered a sequel to his much-copied 1976 "I{heart}NY" logo. He didn't change the heart, he simply added the words "More Than Ever."

The Smithsonian's New York museum will also honor Aveda, a Minnesota-based cosmetics company dedicated to environmental consciousness. The company has achieved notice for stylish and innovative packaging made with recycled materials, as well as appropriately "green" manufacturing methods. Aveda's store interiors raise consciousness about so-called sustainable materials by using them as decoration. Bamboo stalks, sunflower and corn husks and wheat seeds turn up. So do 19th-century maple logs reclaimed from riverbeds.

The honors will be conferred Oct. 19 in New York at the museum's National Design Awards gala. Winners in five fields of practice will be announced at the event. Their work provides a juried snapshot of the country's most inventive and influential designers.

The finalists: Architecture: James S. Polshek of Polshek Partnership Architects; Joe Spear of HOK Sport + Venue + Event Architecture; Rafael Vinoly; Rick Joy. Communications: @radical.media; MTV Networks; and Second Story. Environment: Andropogon Associates Ltd.; Ned Kahn; William McDonough + Partners. Product Design: Burt Rutan; Interface Inc.; Yves Behar. Fashion: Marc Jacobs; Narciso Rodriguez; Yeohlee Teng.

MoMA, Heavy on the Danish

If American design is getting a shot in the arm from the Cooper-Hewitt, it has gotten a swift kick from the Museum of Modern Art.

MoMA's refurbished temple of modernism, which reopens in November, will be furnished almost entirely with Danish design, at no cost to the museum. Chairs, tables, coffeepots, tableware, flatware, stemware, candleholders, fruit dishes, a trivet table and a lotus chair are being provided gratis by the government of Denmark, which is footing the bill for merchandise from 13 manufacturers and dozens of designers, some classic, others contemporary.

"It's totally unfair," says Mark Dziersk, senior vice president of design at the Chicago firm of Herbst LaZar Bell and a past president of the Industrial Designers Society of America. He and other members learned of the deal from a New York Times article called to their attention in the society's electronic newsletter. "I view it as another example of Americans being passed over. The rest of the world gets a lot of credit when we deserve some of the credit for making some of the best products in the world."

He mentions iconic furniture by mid-century American masters Charles and Ray Eames and Harry Bertoia, along with computers and Sub-Zero refrigerators.

A call to MoMA reveals that mid-century modernism is alive and well. Bertoia chairs will reappear in the garden, Knoll will produce a few benches, and the Herman Miller company, for which the Eameses and Bertoia worked, will supply Aeron chairs in the offices. But in the main public spaces, including the restaurant, the museum founded as a bastion of "international style" will exude Danish charm.

Terence Riley, MoMA's curator of architecture, calls the deal a "terrific offer" and says that once the Danes made their proposal, it would have been "churlish" to shop around. Happily for international relations, Riley considers Denmark "one of 10 countries" capable of producing the right kind of goods, including Georg Jensen flatware and Royal Copenhagen china. It's hard to argue with Riley when he notes that a mid-century Ant chair by the architect Arne Jacobsen is still completely "of the moment." Still, it might have been interesting to see examples from the nine other design-savvy countries on his list.

Riley points out that no American designers approached the museum and that if MoMA had wanted to take the initiative, there was no "obvious doorstep that we would land on."

"I'm sure we could do it," he says, "but there's no government agency that could have made this possible the way the Danish government made it possible."

Especially not for free.

"If there's something good that can come out of this for American designers," Riley suggests, it might be an impetus for normally competitive companies to form "a design leadership council" to promote common interests.

First item on the agenda would have to be making design a matter of national pride.

Milton Glaser designed a Bob Dylan poster in 1966, top left, that was included with the singer's "Greatest Hits" album, and created the look of the Grand Union Superstore, above. Below left, Glaser reworked his ubiquitous logo in response to the Sept. 11, 2001, attacks.An Ant chair by Danish architect Arne Jacobsen

is part of MoMA's permanent collection.