Stanley Abercrombie
Books Every Interior Designer Should Read
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Compiled by a former editor-in-chief of Interiors, this book offers data that can be a key tool in making interior elements fit the people who use them. We may be a bit taller and a lot wider than we were in 1948, but this is still a useful reference.
This may seem a strange choice, but this catalogue for an exhibition of the same name at New York’s Museum of Modern Art, shows us dramatically and humorously how design decisions based on fashion can affect us in ways that are awkward, painful, and even disfiguring.
An entertaining and sometimes withering critique of the mid-century American house, with keen observations on our habits of dining, sleeping, and bathing.
An art historian’s autobiography written in the form of a tour through his own house on Rome’s Via Giulia, seeing its furnishings, art, and objects, remembering their sources and significance for him. As a result we review his whole life. Of more importance, we are poignantly reminded of how meaningful and communicative are the inanimate objects we choose to live with.
Although in his preface Nelson admitted the book’s title might have been “How I See,” this is clearly a plea for all of us—particularly designers—to be more consciously aware of our surroundings.
The original aim of this book was re-education to new visual phenomena (more abstract, less literal) and new spatial conceptions (more flowing, less static). Even though we are now fully attuned to abstraction and flow, this book still has interesting things to tell us about perceiving and expressing structure, relationships, and rapidly evolving reality.
Taking a cue from Walter Benjamin’s observation that “The advent of modernity coincided with the emergence of the private individual,” this is a scholarly but sprightly history of interior design from the Victorian era to today.
Part of the six-volume Vision + Value series edited by Kepes, Professor of Visual Design at MIT, this volume never specifically mentions interior design, but its 13 essays (by artists, architects, a geneticist, and a mathematician) are repeatedly relevant to it. One example, the essay by art psychologist Rudolf Arnheim, begins: “One of the basic visual experiences is that of right or wrong. . . . The shape of a house, a shelf, or a picture frame may repose contentedly or show a need to improve by stretching or shrinking.”
Although it was first published almost a century ago and offers finer details than most of us need, this is a fundamental and poetically written book about the material world for which we must design—about how things grow and why they take the shapes they do, about weakness and strength, speed and size, symmetry and asymmetry, and the partitioning of space. I recommend the 1961 Cambridge University Press abridged edition.
First published in 1936 as Pioneers of the Modern Movement and given its new title in a Museum of Modern Art edition of 1949, this book teaches the importance to modernism of such transitional figures as William Morris, H. H. Richardson, Victor Horta, Louis Comfort Tiffany, and Louis Sullivan. As Pevsner states, it shows that “the new style, the genuine and legitimate style of our [20th] century, was achieved by 1914.” The 2005 edition adds color illustrations and brings the story forward to Wright’s Guggenheim Museum and Le Corbusier’s Ronchamp chapel.
Four years before his death, French philosopher Bachelard wrote of the character of such spaces as cellars, attics, forests, nests, shells, huts, and drawers and considered what roles they play in our imaginations. He asked designers to envision the experiences their designs will generate, not to work with abstractions that may not affect their inhabitants. He opposed Cartesian logic and celebrated poetry, play, and daydreams. He was against the square and for the round. A dense book, best to be read slowly, glancing up occasionally for a daydream.
Nelson is, of course, best known for his furniture design, but he should be at least as much appreciated for his often iconoclastic writings about design. The design problems he observed in the adolescence of modern design are with us still, though rarely as wittily considered.
Written by Ruskin as a polemic favoring Venetian Gothic style over the “pestilent” design of the Renaissance, this passionate book can now be read as a marvel of close observation and imaginative description of buildings and their interiors. Many modern readers, however, may prefer the 1960 one-volume abridged edition to the original three-volume version of 1851–53.
E. B. White once wrote that Walden was “a good argument for traveling light.” Surely such an argument for communing with nature, economy, liberty, and—above all—simplicity is a text from which a great many interior designers could benefit.
Announcements
Louis Kahn: Architecture as Philosophy by John Lobell
Louis Kahn: Architecture as Philosophy
By John Lobell
Publisher: The Monacelli Press
Published: June 2020
Noted Louis I.Kahn expert John Lobell explores how Kahn’s focus on structure, respect for materials, clarity of program, and reverence for details come together to manifest an overall philosophy.
Our Days Are Like Full Years: A Memoir with Letters from Louis Kahn by Harriet Pattison
Our Days Are Like Full Years: A Memoir with Letters from Louis Kahn
By Harriet Pattison
Publisher: Yale University Press
Forthcoming: October 2020
An intimate glimpse into the professional and romantic relationship between Harriet Pattison and the renowned architect Louis Kahn. Harriet Pattison, FASLA, is a distinguished landscape architect. She was Louis Kahn’s romantic partner from 1959 to 1974, and his collaborator on the landscapes of the Kimbell Art Museum, Fort Worth, and the F.D.R. Memorial/Four Freedoms Park, New York. She is the mother of their son, Oscar-nominated filmmaker Nathaniel Kahn.
Louis I. Kahn: The Nordic Latitudes
Louis I. Kahn: The Nordic Latitudes
By Per Olaf Fjeld and Emily Randall Fjeld
Publisher: University of Arkansas Press
Published: October 4, 2019
A new and personal reading of the architecture, teachings, and legacy of Louis I. Kahn from Per Olaf Fjeld’s perspective as a former student. The book explores Kahn’s life and work, offering a unique take on one of the twentieth century’s most important architects. Kahn’s Nordic and European ties are emphasized in this study that also covers his early childhood in Estonia, his travels, and his relationships with other architects, including the Norwegian architect Arne Korsmo.
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Reading Graphic Design History: Image, Text, and Context by David Raizman
Reading Graphic Design History: Image, Text, and Context
By David Raizman
Publisher: Bloomsbury Visual Arts
Published: December 2020
An innovative approach to graphic design that uses a series of key artifacts from the history of print culture in light of their specific historical contexts. It encourages the reader to look carefully and critically at print advertising, illustration, posters, magazine art direction, and typography, often addressing issues of class, race, and gender.
David King: Designer, Activist, Visual Historian by Rick Poynor
David King: Designer, Activist, Visual Historian
By Rick Poynor
Publisher: Yale University Press
Published: September 2020
A comprehensive overview of the work and legacy of David King (1943–2016), whose fascinating career bridged journalism, graphic design, photography, and collecting. King launched his career at Britain’s Sunday Times Magazine in the 1960s, starting as a designer and later branching out into image-led journalism, blending political activism with his design work.
Teaching Graphic Design History by Steven Heller
Teaching Graphic Design History
By Steven Heller
Publisher: Allworth Press
Published: June 2019
An examination of the concerted efforts, happy accidents, and key influences of the practice throughout the years, Teaching Graphic Design History is an illuminating resource for students, practitioners, and future teachers of the subject.
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