Diana Balmori
Diana Balmori’s Book List
This list of books is not at all homogeneous. But it isn’t random, either. These books have remained true companions of mine after others (although they produced immediate pleasure) have faded into oblivion.
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A classic. It is the only book I have found about an art form (in this case, garden stones) that is not by a scholar but by an artist in a similar discipline. I could mention a few others, but none are as perceptive as this. After reading it just as I was starting work in China, I felt that the only way to read about an art form was to read something by an artist in an allied field. It is my vade mecum (reference manual) and in my eyes the ideal book about an art form.
I’ve used this book in undergraduate architecture seminars. I’ve presented the rules it gives for designing teahouse paths (rojis) as an example of guidelines for designing that do not promote imitation or a particular (in this case, Japanese) aesthetic. It is a brilliant way of establishing rules without dictating a particular style.
The Spanish writer Azorín is the closest parallel to Tacitus (see my comments on Agricola and Germania by Tacitus) and is the reason El Libro de Levante, a collection of essays describing eastern Spain, became an equally golden standard for me. Azorín is a hero to me because, like Tacitus, he is terse, despite the fact that Spanish is a wordy language. He adopted the short essay form, which he delivered with great mastery. He is the 20th-century Spanish Joseph Addison or William Hazlitt.
Robert Pogue Harrison provides a conceptual frame for the work of making a garden, pointing to the importance—and at times, the necessity—of creating and caring for it. Gardens are fundamental, he says, in giving order to our relation to nature, rather than bringing an order to nature. That is the idea that made this book a favorite of mine.
Mysteries interest me as a genre, not as individual books. I think their appeal for me is the fascination of following a clue, having it lead nowhere, and then finding another, which leads to the solution—a process that is much like conducting research in history or science. Within the genre, I have strong favorites. When I was a child I loved Arthur Conan Doyle and Agatha Christie. Now, Dorothy Sayers, Rex Stout, Emma Lathen, Sarah Caudwell, and Sara Paretsky are the mystery writers I like best.
This appears to be a strictly technical book—but do you know how different the roots of trees are from one another? Curiously, that is not at all common knowledge. This Japanese treasure, given to me by my colleague Masahiro Soma, is a chunky book with illustration after illustration of tree roots, shown with a scale indicating their actual dimensions. It is a rare gem—but alas, it is only in Japanese, undoubtedly a tool for those in the field of landscape design and probably not of interest to those outside of it.
I’ve read everything Virginia Woolf wrote, beginning with her earliest works. Of all prose, hers is the most probing of inner inexpressible states, and on top of that, it is beautiful. Her very abstract and experimental writing keeps the narrative line clear, unlike Joyce’s. To the Lighthouse, Mrs. Dalloway, and A Room of One’s Own are her masterpieces.
The Mustard Seed Garden of Painting is the most widely used handbook of painting in China. It is the most thorough and delightful work ever written on the discipline of an art form (in this case, Chinese painting), presented in a very clear and orderly manner. Landscape as a discipline has for a long time lacked discipline. This book, though at first glance about Chinese painting, is really about landscape and its portrayal. As in Europe in the 1600s, painting and landscape in China were intertwined, and the word “landscape” referred first to a painting of a landscape and later to the thing painted. So The Mustard Seed Garden of Painting is a rare and valuable dictionary of landscape forms as well as a detailed portrayal of the discipline dealing with those forms. A priceless observation is: “To be without method is deplorable, but to depend entirely on method is worse. The end of all method is to seem to have no method.”
This is a favorite of mine because of my love of bridges. Perhaps I love them because from the time I was five until I was seven, an architect uncle took me for walks in London to look at them. Also, this book was the first prize for an architecture school competition that I won in my first year at college, and it is a treasured possession.
I got onto this book through my friend the artist Siah Armajani. It has something in common with The Mustard Seed Book of Painting, in that it studies patterns that can be obtained through the use of rigorous geometric rules but that achieve variety and playfulness within that framework.
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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