Furniture produced by the daring Knoll Furniture Company of New York between 1938 and 1960 are identified, cataloged, and shown in over 270 illustrations. Original furniture designs by such important and influential artists as Eero Saarinen, Harry Bertoia, Isamu Noguchi, George Nakashima, Jens Risom, and Ralph Rapson, among others, are presented along with a useful identification chart, index, and price guide.

Florence Knoll (1917–2019) was a leading force of modern design. She worked from 1945 to 1965 at Knoll Associates, first as business partner with her husband Hans Knoll, later as president after his death, and, finally, as design director. Her commissions became hallmarks of the modern era, including the Barcelona Chair by Mies van der Rohe, the Diamond Chair by Harry Bertoia, and the Platner Collection by Warren Platner. She created classics like the Parallel Bar Collection, still in production today. Knoll invented the visual language of the modern office through her groundbreaking interiors and the creation of the acclaimed "Knoll look," which remains a standard for interior design today. She reinvigorated the International Style through humanizing textiles, lighting, and accessories. Although Knoll's motto was "no compromise, ever," as a woman in a white, upper-middle-class, male-dominated environment, she often had to make accommodations to gain respect from her colleagues, clients, and collaborators. No Compromise looks at Knoll's extraordinary career in close-up, from her student days to her professional accomplishments.

Issued in connection with an exhibition held May 18, 2011-July 31, 2011, Bard Graduate Center, New York.

A photographic tour through designers’ own spaces, from a Greenwich Village town home to a Park Slope brownstone and beyond. Designers’ homes often serve as laboratories where they are free to experiment. These spaces are filled with the designer’s most personal and cherished objects, furnishings, and artwork that are concentrated expressions of their style and interests. New York Design at Home profiles 27 homes and looks at how these creative professionals—among them David Gresham, Ellen Hanson, Benjamin Pardo, Ariel Ashe, and many more—approach design in their personal space. Like most New York City residents, they are decorating with much smaller budgets than they have on their work projects, but they find creative ways to deal with tiny bathrooms, awkward and unusable kitchens, and shared living spaces. Photographed by Noe DeWitt, New York Design at Home highlights the carefully considered details within each interior—the Pablo Picasso painting reproduced as wallpaper, the kitchen utensils on display, textiles that provide pops of color in an otherwise monochromatic space—and captures the creative essence of these homes with new, never-before-published images.

This study is a fascinating inside look at digital type design, the rather mysterious career of one of its most important practitioners, and the history and culture of Adobe Type, with additional insight into other type designers of the digital era. It is difficult to imagine a graphic designer in the last quarter century who is not familiar with at least some of Carol Twombly's typefaces. Yet many of those who use her fonts today would be hard pressed to name their designer. Twombly studied at the Rhode Island School of Design under professor Charles Bigelow, and she also studied at the Bigelow & Holmes studio. She joined Adobe Systems in 1988, when the company was hiring young designers for the newly launched type department. During her ten years at Adobe, she designed some of the most recognizable and popular typefaces on the market today, including Trajan (1989), Charlemagne (1989), Lithos (1989), Adobe Caslon (1990), Myriad (1991, with Robert Slimbach), Viva (1993), Nueva (1994), and Chaparral (1997). In 1994, Twombly won the Prix Charles Peignot, given by the Association Typographique Internationale (ATypI) the first woman, and second American, to receive the award. Having achieved international recognition, Twombly was uncomfortable being in the public eye at conferences and in Adobe marketing materials. She also grew dissatisfied with changes at Adobe and with her evolving role at the company. In 1999 she left both Adobe and her career to pursue other artistic interests. Nancy Stock-Allen is a graphic designer and a blogger on subjects related to design, type, and women in design history. She was formerly Professor of Graphic Design and department chair at the Moore College of Art and Design. She interviewed and corresponded extensively with Carol Twombly and many of her associates and colleagues in writing this profile of a woman who rose to the top of a field historically dominated by men, at a time of barrier-breaking and technological revolution.

When the Thomas Mann House in Los Angeles was recently bought by the Federal Republic of Germany and transformed into a representative 'transatlantic meeting place', it was Walter Knoll furnishings that defined its interior design and showcased German creativity and economic-cultural performance. Based in Herrenberg, near Stuttgart, the more than 150-year-old business is one of the most successful furniture companies of the modern era and a global leader in the high end furnishings segment. Walter Knoll's impressively long history dates back to Wilhelm Knoll, the founding father of the Knoll dynasty, who first set up a leather shop in Stuttgart in 1865. Knoll rose from being a cobbler to the court purveyor to the House of Württemberg. When his sons, Willy and Walter, took over the company in 1907, they began producing seating - introducing the first club armchair to Germany and becoming the industry's first exporter. Their advances marked a revolution in upholstered furniture. After founding his own company in the 1920s, Walter Knoll was a breakout sensation in the avant-garde interior design world with a landmark exhibition at the Weissenhof Estate in Stuttgart, under the direction of Mies van der Rohe, in 1927. His son Hans Knoll went to the U.S. in the 1930s and founded his own company, Knoll Inc., which re-wrote design history. In 1993, Markus Benz, the son of Rolf Benz, joined the Knoll ranks, continuing the successful cooperation with internationally-renowned architects and designers.

“This book is not for you. It is not for architectural academic elites. It is not for those who have gentrified our neighborhoods, overly intellectualized the profession, and ignored all contemporary Black theory within the discipline. You have made architecture a symbol of exclusion, oppression, and domination rather than expression, aspiration, and inspiration. This book is not for conformists-Black, White, or other.” As architecture grapples with its own racist legacy, Hip-Hop Architecture outlines a powerful new manifesto-the voice of the underrepresented, marginalized, and voiceless within the discipline. Exploring the production of spaces, buildings, and urban environments that embody the creative energies in hip-hop, it is a newly expanding design philosophy which sees architecture as a distinct part of hip-hop's cultural expression, and which uses hip-hop as a lens through which to provoke new architectural ideas. Examining the present and the future of Hip-Hop Architecture, the book also explores its historical antecedents and its theory, placing it in a wider context both within architecture and within Black and African American movements. Throughout, the work is illustrated with inspirational case studies of architectural projects and creative practices, and interspersed with interludes and interviews with key architects, designers, and academics in the field. This is a vital and provocative work that will appeal to architects, designers, students, theorists, and anyone interested in a fresh view of architecture, design, race and culture. Includes Foreword by Michael Eric Dyson.

This exhibition catalog documents the emergence of modern American design in the second quarter of the 20th century. Cranbrook was one of the few institutions in the United States that offered instruction in design during the 1920s and 30s and its influence on architecture, interior design, art and crafts after World War II was crucial and extensive. The exhibition includes over 200 objects and photo-panels and surveys the history of the Cranbrook facility, as well as the achievements of the teachers and students. Presenting the history of the Cranbrook community, it covers Eliel Saarinen's contribution to architecture and urban design, interior design and furniture, metalwork and bookbinding, textiles, ceramics, sculpture and painting. ISBN 0-89558-097-7 (pbk.); ISBN 0-87099-341-0 (pbk.) : $45.00 (For use only in the library).

'Design is One' is a photo and caption sampling of Lella and Massimo's work from 1955 to 2003.