Lisa Krohn American Industrial Designer

Lisa Krohn, an influential figure in American industrial design, embodies a cross-disciplinary practice grounded in narrative, technology, and form. Born and raised in New York, Krohn’s career reflects a unique convergence of poetic vision and technological foresight—hallmarks that define her contribution to American design philosophy.

Educational Foundation: From Brown to Cranbrook

Lisa Krohn’s academic trajectory speaks to her dedication to design’s intellectual and tactile aspects. In 1985, she studied art history and visual arts at Brown University, laying a theoretical foundation that would inform her later works. Between 1985 and 1986, she studied three-dimensional form under Rowena Reed Kostellow, a revered educator known for her theories on form perception and spatial relationships.

Her graduate studies at the Cranbrook Academy of Art in 1988 placed her within a legacy of experimental and modernist design practice. There, she developed a language of design that intertwined aesthetics with emerging technologies—an approach reminiscent of the Bauhaus ethos yet distinctively postmodern.

Early Professional Work and Editorial Contributions

Krohn began her career in design journalism as an editor for the Industrial Designers Society of America (IDSA) in New York (1985–1987), where she engaged with critical discourse on design futures. Her editorial lens sharpened her critical thinking, later informing her consultancy work with corporate and cultural clients.

From 1986 to 87, she joined Smart Design, contributing as a designer and copywriter. She soon transitioned to corporate consultancy, working at Johnson & Johnson (1987–88) and Herman Miller Research (1988) as a research consultant, focusing on the human experience of technology—years before UX became a design standard.

European Influence and Collaborative Practice

Krohn’s international design experience includes a pivotal year (1988–89) in Mario Bellini’s Milan studio, a hotbed of Italian design innovation. This period exposed her to Italian design philosophy and refined her understanding of ergonomics, materiality, and brand storytelling.

1989, she co-founded Abel Industrial, a multidisciplinary design collaborative based in New York. Abel Industrial designed for major clients including Alessi, Estée Lauder, George Kovacs Lighting, and Steelcase Design Partnership. Their work ranged from lighting design and graphics to stage sets and interior design, reflecting Krohn’s cross-medium agility.

Teaching and Lecturing

Committed to design education, Krohn lectured at the University of Monterrey (Mexico) and served as a visiting critic at Parsons School of Design in 1988. Her teaching echoes the Bauhaus model: breaking down crafts and fine arts hierarchies while encouraging systemic thinking.

Notable Designs: Manual Fax and Phonehook

Two of her most recognized industrial products—Manual Fax and Phonehook—synthesized emerging digital technology with tactile design. They are emblematic of Krohn’s interest in functional aesthetics and human-centered interaction.

Recognition and Legacy

Lisa Krohn was awarded first prize in the 1987 Forma Finlandia “Plastics for Tomorrow” competition—an early indication of her pioneering stance on sustainable materials and future-focused design.

Her work bridges industry, narrative, and functionality, placing her among the important figures in American industrial design. Whether creating tactile devices or conceptual environments, Krohn continues to shape a design legacy rooted in clarity, empathy, and innovation.

Sources

Byars, M., & Riley, T. (2004). The design encyclopedia. Laurence King Publishing.