Here are 100 books that In Praise of Shadows fans have personally recommended if you like
In Praise of Shadows.
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I’ve always been fascinated by books that explore the slow, painful unraveling of the human psyche. In part, I think because it’s something so many more of us either fear or experience (at least to some degree) than anyone really wants to admit—but it’s also just such rich material for literary unpacking. I also love books with strong, angry female protagonists who fight back against oppression in all of its forms, so books about pissed-off madwomen are a natural go-to for me. Extra points if they teach me something I didn’t know before-which is almost always the case with historical novels in this genre.
I love this because, in many ways, it is a kind of modern take on Sargasso Sea, with a liberal dash of Catcher in the Rye thrown into the soup: an exploration of what happens when you apply the same kinds of patriarchal oppression and expectations Antoinette suffered in the 19th century to a young 20th-century woman living in what is supposedly a more “progressive” and “modern” era.
Esther Greenwood’s unraveling is both brutally relatable and unexpectedly humorous at points, and there are images from it that are so starkly drawn that they stay embedded in your mind like glass shards after an explosion. It’s a modern classic for a reason.
When Esther Greenwood wins an internship on a New York fashion magazine in 1953, she is elated, believing she will finally realise her dream to become a writer. But in between the cocktail parties and piles of manuscripts, Esther's life begins to slide out of control. She finds herself spiralling into depression and eventually a suicide attempt, as she grapples with difficult relationships and a society which refuses to take women's aspirations seriously.
The Bell Jar, Sylvia Plath's only novel, was originally published in 1963 under the pseudonym Victoria…
I've spent the last three decades thinking about Japanese aesthetics, and in particular if and how they can be meaningfully used beyond Japan. I'm the author of several books on the subject: Frank Lloyd Wright and Japan, Place Time and Being in Japanese Architecture, This Here Now: Japanese Building and the Architecture of the Individual, and most recently, The Constructed Other: Japanese Architecture in the Western Mind. I teach about Asian Pacific architecture at the University of Hawai'i, Mānoa.
Okakura links Taoist and Zen philosophy to the tangible world by way of the aesthetics of tea, which are actually the aesthetics of life itself. The title of this slim volume is disarmingly understated, then. It is the most approachable book on aesthetics I know.
Now available in a gorgeous hardcover slipcase edition, this "object d'art" will be sure to add grace and elegance to tea shelves, coffee tables and bookshelves. A keepsake enjoyed by tea lovers for over a hundred years, The Book of Tea Classic Edition will enhance your enjoyment and understanding of the seemingly simple act of making and drinking tea.
In 1906 in turn-of-the-century Boston, a small, esoteric book about tea was written with the intention of being read aloud in the famous salon of Isabella Gardner, Boston's most notorious socialite. It was authored by Okakura Kakuzo, a Japanese philosopher, art…
As a teenager, I worked on cars and motorcycles in my spare time while apprenticing in an architectural millwork shop, paneling the homes of the rich and famous. Thus I discovered the great joys and satisfactions of working with my hands. After a long stint in graduate school, then four years as an editor at Fine Woodworking magazine and for Taunton Press books, I opened a custom design furniture business in 2000. Travel, writing, and reading are aligned passions, and I’ve lived, taught English, and woodworking here and abroad in France, Slovakia, India, and Japan.
They say that travel opens the mind in ways that staying home doesn’t. Books can take you places you can’t otherwise go. So with Yanagi, I got to visit the mind of an early 20th-century Japanese craft connoisseur who looked at thousand-year-old (plain and unassuming) tea bowls and wondered why they’re utterly beautiful and treasured (the best fetch huge sums at auctions–$25million recently for one). Yanagi’s exploration of how the hands of craftsmen can unknowingly and unintentionally create objects of great beauty was both fascinating as it was challenging. It made my shop work a hundred times more enjoyable.
craftsman working in a set tradition for a lifetime? What is the value of handwork? Why should even the roughly lacquered rice bowl of a Japanese farmer be thought beautiful? The late Soetsu Yanagi was the first to fully explore the traditional Japanese appreciation for objects born, not made.' Mr. Yanagi sees folk art as a manifestation of the essential world from which art, philosophy, and religion arise and in which the barriers between them disappear. The implications of the author's ideas are both far-reaching and practical. Soetsu Yanagi is often'
I've spent the last three decades thinking about Japanese aesthetics, and in particular if and how they can be meaningfully used beyond Japan. I'm the author of several books on the subject: Frank Lloyd Wright and Japan, Place Time and Being in Japanese Architecture, This Here Now: Japanese Building and the Architecture of the Individual, and most recently, The Constructed Other: Japanese Architecture in the Western Mind. I teach about Asian Pacific architecture at the University of Hawai'i, Mānoa.
This book was far ahead of its time inexplaining the active manipulation of space and time in traditional Japanese gardens, from the diminutive tsuboniwa courtyard gardens that transported the city dweller to the heart of the wilderness, to the temple gardens that procured remote features of the natural landscape.
I've spent the last three decades thinking about Japanese aesthetics, and in particular if and how they can be meaningfully used beyond Japan. I'm the author of several books on the subject: Frank Lloyd Wright and Japan, Place Time and Being in Japanese Architecture, This Here Now: Japanese Building and the Architecture of the Individual, and most recently, The Constructed Other: Japanese Architecture in the Western Mind. I teach about Asian Pacific architecture at the University of Hawai'i, Mānoa.
This beautifully illustrated book is difficult to find now. The images effectively speak for themselves, however, and make up for the inevitable shortcomings of even the most informed attempts to sum up these concepts verbally.
My passion for ancient history and archaeology began in secondary school when I started learning Latin and we were taken on a field trip to Fishbourne Roman Palace. By the time I started my MA at Bristol, my obsession with ancient Roman housing was well and truly established, and it quickly became clear to me that this was the area that I wanted to study for my PhD. Now as an Associate Professor in Ancient History and Archaeology at Royal Holloway, University of London, I have been very lucky to study and teach a range of areas in ancient history and archaeology, including my beloved area of the Roman domestic realm.
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.
First published in 1996, The Eyes of the Skin has become a classic of architectural theory. For every new intake of students studying Pallasmaa s classic text, The Eyes of the Skin provides a totally fresh understanding of architecture and a new set of insights. This third edition is intended to meet students desire for a further understanding of the context of Pallasmaa s thinking by providing a new essay by architectural author and educator Peter MacKeith. This text combines both a biographical portrait of Pallasmaa and an outline of his architectural thinking. The new edition will includes a new…
As a child my heroes were designers and I thought designers could design across many disciplines, this was what I understood and aspired to. I'm fortunate to have been a designer, illustrator, and design teacher for many years. Passionate about the process I firmly believe if you can design in one area you can design in another. Understanding your material's potential is the key. As a tutor and author my job is to unwrap a student’s talent, support and encourage that unique view through skills building and advice to help them. I believe good design can solve many of the world’s problems and passing on that message is valuable.
A captivating biography of one of my favourite designers. This book charts the life and experience of Eileen Gray and most importantly her fierce desire to understand the process of design and explore the integrity and flexibility of the material and techniques she used.
From exquisite lacquer work as surface decoration or tubular steel, leather, and canvas for furniture, to the smooth, modernist concrete for her most famous build, E1027, Gray mastered her materials. In doing so she recognised that when designing space, engineering and theory were not enough, and that instinct and the ‘choreography of the space’ are essential to how we recognise and understand our built environment. A wonderful exploration of a designer’s life, particularly relevant for a student of design to read.
This is a biography of Eileen Gray (1878-1976), an Anglo-Irish architect and designer who spent her early life in Paris and opened showrooms in 1922 with a strong Art Deco emphasis. Written by a longstanding friend who draws on his exclusive access to Gray's personal archives, the book aims to re-create her life and architectural projects. Two houses she designed in the south of France are now considered architectural landmarks of the 20th century. In addition to more than 300 photographs, designs and architectural plans, this new edition provides a revised catalogue raisonne of Gray's furniture, architecture and drawings.
As a child my heroes were designers and I thought designers could design across many disciplines, this was what I understood and aspired to. I'm fortunate to have been a designer, illustrator, and design teacher for many years. Passionate about the process I firmly believe if you can design in one area you can design in another. Understanding your material's potential is the key. As a tutor and author my job is to unwrap a student’s talent, support and encourage that unique view through skills building and advice to help them. I believe good design can solve many of the world’s problems and passing on that message is valuable.
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.
The house is home to many things. Far more than four walls and a roof, it contains our private and public lives, our families, our memories and aspirations, and it reflects our attitudes toward society, culture, the environment, and our neighbours. In a literary tour of the spaces of our homes, this book reflects on how we define such elusive qualities as privacy, security, and comfort. It uncovers the hidden meanings of seemingly simple domestic spaces, in chapters ranging from "The Front Door" to "The Garage" and many others. These writings about the home touch on our culture's fundamental issues:…
As a child my heroes were designers and I thought designers could design across many disciplines, this was what I understood and aspired to. I'm fortunate to have been a designer, illustrator, and design teacher for many years. Passionate about the process I firmly believe if you can design in one area you can design in another. Understanding your material's potential is the key. As a tutor and author my job is to unwrap a student’s talent, support and encourage that unique view through skills building and advice to help them. I believe good design can solve many of the world’s problems and passing on that message is valuable.
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.
THE CLASSIC GUIDE TO DRAWING FOR DESIGNERS, REVISED AND UPDATED TO INCLUDE CURRENT DIGITAL-DRAWING TECHNIQUES
Hand drawing is an integral part of the design process and central to the architecture profession. An architect's precise interpretation and freedom of expression are captured through hand drawing, and it is perhaps the most fundamental skill that the designer must develop in order to communicate thoughts and ideas effectively. In his distinctive style, world-renowned author Francis D. K. Ching presents Design Drawing, Third Edition, the classic guide to hand drawing that clearly demonstrates how to use drawing as a practical tool for formulating and…
Who hasn’t caught themselves staring at a shadow? I certainly have. I have always found shadows fascinating. They are both there and not there, present and absent, and this in-between, fleeting nature keeps me staring. Shadows open a space for contemplation, and the list presented here traces a range of responses to the enigma they represent. Transitory images that exist on a fleeting border between light and darkness, shadows seem to invite me to make sense of their vague and shifting outlines, leading to both the joy of imagination as well as to that unsettling but pleasurable feeling of the uncanny as I struggle to fill in their outlines.
I have read this short section of Plato’s highly influential book, Republic, many times in many different settings over the course of my life and have always found it fresh and thought-provoking.
Are we just dupes staring at the secondhand shadows cast by figures on a wall, or will we escape our cave to find the truth in the light of the sun? Shadows have never been so denigrated! Nevertheless, I feel that Plato’s parable still has the power to make me question what it is I am doing with my life even if it was written over two thousand years ago.
The Allegory of the Cave, or Plato's Cave, was presented by the Greek philosopher Plato in his work Republic (514a–520a) to compare "the effect of education (παιδεία) and the lack of it on our nature". It is written as a dialogue between Plato's brother Glaucon and his mentor Socrates, narrated by the latter. The allegory is presented after the analogy of the sun (508b–509c) and the analogy of the divided line (509d–511e). All three are characterized in relation to dialectic at the end of Books VII and VIII (531d–534e). Plato has Socrates describe a group of people who have lived…
