内容摘要：“There’s places in Alaska where we’ve shown that it doesn’t take any more global warming,” for them to disappear, Truffer said. “The reason some ... (still) exist is simply because it takes a certain amount of time for them to melt. But the climate is already such that they’re screwed.”

“There’s places in Alaska where we’ve shown that it doesn’t take any more global warming,” for them to disappear, Truffer said. “The reason some ... (still) exist is simply because it takes a certain amount of time for them to melt. But the climate is already such that they’re screwed.”

Among highlights of the show are the brave — and bright — blue and green color combination in the first-class observation lounge of the ocean liner S.S. United States. There are the brilliant reds and blues of the first-class seating on American Airlines flagship 747; the glamorous textile backdrops of the 1947 film “Eastside, Westside”; and the dazzling upholstery of the 1957 Chrysler Plymouth Fury.There also are Liebes’ collaborations with fashion designers Clare Potter and Bonnie Cashin, revealing the frequent interplay between fashion and interior design.

“There is nothing like what I call a ‘whameroo’ color to make the whole thing come alive,” Liebes told Potter when Potter said she loved the way Liebes would “inject something startling” in her work.“Don’t be afraid of color,” Liebes said. “Color is heady stuff, and the more one lives with it (as the 20th century man does), the more one can digest. After all, it isn’t the color, but the combination of colors and values.”She was equally enthusiastic about infusing her work with flashes of bling, which she saw as something essential: “Glitter is what the sun does to grass, what light does to nature.”

The idea of using small items like throw pillows to add pops of color to an interior is a direct legacy of Liebes’ influence, the curators say.Some of Liebes’ early works include a Schiaparelli panel created for the 1937 Paris Exposition, and objects linked to the 1939 Golden Gate Exposition, where she began articulating her vision for the role of handcraft in modern design.

The exhibit also showcases her contributions to creating dazzling public spaces on a budget by combining handwoven and power-loomed textiles. There are saturated brilliant colors and extensive use of metallics. Examples are the Persian Room of the Plaza Hotel (where textile panels were embedded with tiny lightbulbs); the Marco Polo Club at the Waldorf Astoria; and the Usonian Exhibition House, built on the site where the Guggenheim Museum now stands.

And Liebes helped create consumer goods, including tiles and wallpaper. She had a hand in industry’s development of synthetic materials, and worked to encourage their use by both top designers and consumers.Every Monday, Wednesday and Friday, Berrios quietly slips out of his home before dawn to spend nearly four hours tethered to a dialysis machine. Getting the grueling treatments at 5 a.m. is the only way the father of two can both stay alive and hold down a fulltime job.

But dialysis doesn’t fully replace kidney function – people slowly get sicker. So even as Berrios tried an experimental therapy to tamp down his problem antibodies, he told NYU he’s interested in a pig kidney.FDA rules require that pig organs be extensively tested in monkeys or baboons before humans. And while researchers have extended those primates’ survival to a year, sometimes longer, they were desperate for experience with people. After all, the pig organs are genetically altered to be more humanlike, not more baboon-like.

, surgeons first tested pig organs in bodies of thedonated for scientific research.