Ellen Lupton

At once scholarly and intimate, this book honors the unique life and artistic achievements of Eva Zeisel. Born in Hungary in 1906, Zeisel endured two world wars and the Soviet revolution, spending 16 months in a Russian prison and escaping Nazi persecution before emigrating to the U.S. in 1938. Pat Kirkham’s biographical essay unfolds beneath a timeline of historic photographs plucked from over a century of family history. Kirkham’s personal friendship with Zeisel adds depth and feeling to the biographer’s meticulous research. Shortly after the turn of the millennium, Zeisel told Kirkham about watching the countdown to the year 2000. “‘It was my century,’” Zeisel said with tears in her eyes, having lived through the best and worst those decades of violence and invention had to offer.

After the astonishing life comes the equally astonishing work, photographed with magical light by Brent Brolin and chronicled by Kirkham and her co-authors, Pat Moore and Pirco Wolfframm, who also became devoted friends and scholars of all things Zeisel. Whether emerging out of darkness or basking against a warm, bright glow, each piece pops with boldness of contour and subtlety of surface. Zeisel was a master form-maker, but she also had a flair for decoration. A 1930 tea set is spotted with soft blue and yellow dots; a 1955 kitchenware ensemble for Hall China Company is glazed in a v-neck of pink and blue. Zeisel called herself a modernist with a little “m.” She knew enough about the so-called Machine Aesthetic to reject it for something all her own. She made her pieces in families, creating relationships of form and counterform that suggest love among people rather than things. That love, and the love that people had for her, comes through on every page.

Hall of Femmes is a series of smartly edited monographs celebrating the life and work of female designers. Created by Samira Bouabana and Angela Tillman Sperandio in Sweden, the books unfold a canon of inspiring female role models for women in the profession.

The latest volumes explore the work of Lella Vignelli and Tomoko Miho, two women who helped shape the American design landscape at mid-century and beyond. Consisting of 64 tall, narrow pages, each brisk and invigorating book will instantly expand your sense of design’s horizon. Replete with illustrations and vintage photographs, the volumes emphasize the human dimension of design practice, presenting moving portraits of women who have excelled in a field where even today, few of us make it to the very top. Generous in purpose and method, each Hall of Femmes book transmits the designer's voice through compelling interviews, thoughtful critical essays, lovingly selected vintage photographs, and dozens of reproductions. From Lella Vignelli we glimpse the energy of one of modern design’s great partnerships.

More than just a publication series, the Hall of Femmes project includes lectures, exhibitions, and events, all conceived in a joyful spirit by the founders and authors.

Michael Rock’s Multiple Signatures belongs to a new breed of monograph that showcases the work of a designer or studio through a diverse collage of documents rather than through lavish reproductions. Multiple Signatures attempts to perform the work rather than merely represent it. Some projects appear in tiny reference shots inserted into a discursive text (reminiscent of Robert Venturi's Complexity and Contradiction in Architecture), while others enter the stage as large-scale images that are not so much reproduced as re-enacted. 2x4, the design consultancy co-founded by Rock in 1994, emerges as the book’s primary subject; the book situates the studio’s influential practice within a larger discussion about design authorship and the techniques and clichés of visual form-making.

A rich picture emerges of how design is practiced in a large multidisciplinary firm with a unique critical voice. One essay features a cartoon-style conversation between Rock and his partners Susan Sellers and Georgie Stout; each character is illustrated with a deadpan drawing of a talking head. The ensuing conversation feels at once honest and contrived—like good theater. One head pronounces, “Our enthusiasm is one of our most recognizable products . . . it has also nearly driven us out of business a few times.” The book also includes many of Rock's essays and lectures, covering a span of more than two decades.

Michael Haverkamp, an expert in sound design, is working to harmonize the cross-sensory driving environment at the Engineering Centre of Ford Motor Company in Cologne, Germany. His book Synesthetic Design is the most fascinating piece of design writing I've encountered in many years. Scientific yet accessible, Haverkamp’s book assesses mountains of research related to human perception to reveal correlations between the senses of sound, sight, smell, and touch. First, Haverkamp provides a useful, research-based update on the Gestalt psychology principles that most designers studied in school (grouping, common fate, figure/ground). Then, he applies these ideas from the visual realm to how we perceive sound and how we connect audio and visual input with input from the other senses.

The book’s layout, typography, and graphics, designed by Andreas Hidber, make this text a joy to read and navigate. Beautifully re-interpreted diagrams bring visual clarity to abstract concepts. Diagrams and illustrations are inserted into the text precisely where they are referenced, while elegant call-outs that summarize key points enable efficient scanning. Also included are a CD and a grid of QR codes connecting readers to a collection of sounds. This book is a must-read for any product designer, architect, interaction designer, or graphic designer seeking to understand design and the human experience.