Fans pick 100 books like Eileen Gray

I find this book's range amazing. This slim but engrossing volume reveals new and invigorating ways of “reading” shadow images as the author discusses topics as diverse as food, cosmetics, architecture, jade, and even toilets.

Tanizaki also tackles the sociological differences in shadow interpretation across cultural divides, lamenting the loss of a more traditional interest in the ambiguous shadow as darkness gives way to a Westernization of Japanese culture that brings illumination in its wake.

While I didn’t always agree with his conclusions, they were always interesting, and got me thinking about why I look at shadows the way I do.

Exploring how and why Romans built their houses to impact all bodily senses sits at the heart of my book.

Whilst interest in planning and building for such full body experiences in architecture today has declined, Pallasmaa’s The Eyes of the Skin presents a compelling argument for the importance of understanding the role of the multiple bodily senses in our experience of built spaces around us.

Divided into two main sections, the first of these examines the pre-eminence of sight in the West and its detrimental impact on architectural practise and our built environs.

The second part considers the role played our other bodily senses in experiencing architecture and proposes a new approach to building design and construction which seeks to integrate full sensory experience into the architectural process.

Recommended to me by one of my students this is a witty exploration of the places in our homes, what we call them, kitchen, bedroom, dining room and how they often don’t live up to or exceed their names. A view of the rituals and complexities of the American home and what it houses as it explores memory, aspirations, and the real meaning of home. This book is a trigger to encourage the reader to look at their own spaces and the pattern of how they use those spaces through habit, muscular memory, and cultural norms, all playing a part in how we define our living spaces.

Ching has a great gift for illustrating with his visuals, and his amazing handwritten text, all manner of information about drawing and designing space. This is a comprehensive and instructional book introducing design drawing from basic principles to the communication of designed space as a structural diagram or atmospheric perspective. A wonderful exploration of sketching and drawing methods to illustrate theory, atmosphere, and the communication of three-dimensional space.  For me, it transcended the textbook approach and provided a clear exploration of the communication of design method and its potential outcomes.

For me this is undoubtably the best biography of Francis Bacon.

It illuminates in detail the life of my mysterious and exotic neighbour, who lived only a stone's throw away over the wall from my flat in Manson Place, South Kensington, in the early 1960s.

Bacon's early struggles, to eventually becoming the lauded and celebrated genius in later life, encompass in this fascinating account, a plethora of characters from both high and low life, a cavalcade of lovers, an addiction to gambling and drinking spanning Soho to Tangier, with sojourns in Paris and the South of France on the way. He religiously painted in the mornings.

Many of the episodes and vignettes are unforgettable and a valuable insight into the machinations of the 'art world' in the 20th century.

This compelling and exhausting portrait of the artist, born in Dublin to Anglo-Irish gentry in 1909 and living to the age… show more.

I adore David Hockney. He draws so beautifully, and in so many different ways, and is always inventive in his art-making. He makes me see more through his art and was a major inspiration for me when I was starting out as an editorial illustrator years ago. This book is a 2020 pandemic conversation between Hockney, now living in Normandy, and his good friend, the art critic Martin Gayford in the UK. It really speaks to the devotion that artists have to observing life and creating something beautiful from it. I love the joy Hockney brings to his work and see that as a powerful energy to create from.

This is a purely visual book of portraits by David Hockney from the beginning of his career until he is nearly 80. It’s full of different styles of drawing and painting and, for that reason, is the kind of book that stimulates visual ideas and makes me want to go straight to the drawing board. In other words, it really gets us thinking in some new ways about how we interpret the world around us in drawing and painting. It’s a good reminder of the pleasures of looking and making.

This book answers the excruciating question: Where are the antinomic antipodes of Los Angeles located? The British master of Pop Art, a long-time inhabitant of LA from 1964 to 2019, filled this sketchbook in his native England. There are no words in this book except for an apocryphal introduction and Hockney’s hand brushed “Yorkshire April 04”. If Henry Moore masters the ballpoint pen, David Hockney excels in watercolor. But the brush is not primarily used to fill in surfaces but to draw. The colorful water flows in fast gestures easy and attentive. “I could do this,” one thinks. Only if I had my own Yorkshire and my faraway LA. The book is also a prequel to Hockney’s most recent work, fully bucolic, produced in Normandy, France where, according to him, people know how to live. Hockney pretends to do everything unassumingly. Of course we know that this is not… show more.

The shortest book on the list – I wish it were longer! – is the hardest hitting.

Julian Spalding, art critic, and former gallery and museum curator, is well qualified to critique contemporary art trends. But the “con” of the title also stands for “conceptual” (requiring only ideas and little skill or craft), and the “con” or scam that he believes much conceptual art to be.

Spalding has no problem with “modern” or progressive art that challenges the status quo – Picasso, Magritte, or David Hockney – but only the intellectual bankruptcy that the conceptual movement has ushered in.

His forthright take is controversial, but its feisty, informed, and well-argued critique suggests that the little boy pointing out the emperor’s lack of clothes may just have a point.

Known as the First Lady of interior decoration, de Wolfe (1865-1950) excelled in a predominantly male profession which she is credited with inventing. Her book which, is still thought of as a decorator’s bible, was first published in 1913. It’s a compilation of several of her chatty magazine articles so even though her clientele was elite the strong doses of common sense, wit, and sophistication in her voice have mass appeal. Described as an ornamental minimalist she upturned the oppressiveness of the Victorian and Edwardian sensibility by avoiding clutter, dark colors, and heavy draperies in favor of sparsely furnished, naturally lit rooms (which she considered to be optimistic) that seamlessly aligned themselves with their natural surroundings. In that sense, she was one of the first decorators to acknowledge nature and to emphasize the importance of incorporating garden and exterior views into interior planning.