The book presents a novel examination of urban commons which provides a robust base for education initiatives and future public policy guidance on the protection and use of urban commons as invaluable urban green spaces that offer a diverse cultural and ecological resource for future communities. The book's central argument is that only through a deep understanding of the past and a rigorous engagement with present users, can we devise new futures or imaginaries of culture, well-being and diversity for the urban commons. It argues that understanding the genesis of, and interactions between, the different pressures on urban green space has important policy implications for the delivery of nature conservation, recreational access and other land use priorities. The stakeholders in today’s urban commons, whether land users, policy makers or the public, are the inheritors of a complex cultural legacy and must negotiate diverse and sometimes conflicting objectives in their pursuit of a potentially unifying goal: a secure future for our urban commons. The book offers a unique and strongly interdisciplinary study of urban commons, one that brings together original historical investigation, contemporary legal scholarship, extensive oral history research with user groups, and research examining the imagined futures for the urban common in modern society. It explores the complex social and political history of the urban common, as well as its legal and cultural status today, using four diverse case studies from within England as exemplars of the distinctively urban common. These are Town Moor in Newcastle, Mousehold Heath in Norwich, Clifton and Durdham Downs in Bristol and Valley Gardens in Brighton. The book concludes by looking forward and considering new tools and methods of negotiation, inclusivity and creativity to inform the future of these case studies, and of urban commons more widely. This book will be of great interest to students and scholars of the commons, green spaces, urban planning, environmental and urban geography, environmental studies and natural resource management.

Lying in the Dark Room: Architectures of British Maternity returns to and reflects on the spatial and architectural experience of childbirth, both through a critical history of maternity spaces and a creative exploration of those we use today. Where conventional architectural histories objectify buildings (in parallel with the objectification of the maternal body), the book—in the mode of Creative Practice Research—presents a creative-critical autotheory of the architecture of lying-in. It uses feminist, subjective modes of thinking, which travel across disciplines, registers and arguments. The book assesses the transformation of maternity spaces—from the female bedchamber of seventeenth- and eighteenth-century marital homes, to the lying-in hospitals of the eighteenth and nineteenth centuries, purpose built by man-midwives, to the late-twentieth century spaces of home and the modern hospital maternity wing— and the parallel shift in maternal practices. The spaces are not treated as mute or neutral backdrops to maternal history, but as a series of vital entangled atmospheres, materials, practices and objects that are produced by, and in turn produce particular social and political conditions, gendered structures and experiences. Moving across spaces, systems, protagonists and their subjectivities, the book shows how hospital design and protocols altered ordinary birth at home and continue to shape maternal spatial experience today. As such, it will be of interest to a wide range of readers, from architectural historians, theoreticians and designers, architecture students, medical humanities historians, English Literature humanities and material studies readers and those interested in creative critical writing.

Part-Architecture presents a detailed and original study of Pierre Chareau's Maison de Verre through another seminal modernist artwork, Marcel Duchamp's Large Glass. Aligning the two works materially, historically and conceptually, the book challenges the accepted architectural descriptions of the Maison de Verre, makes original spatial and social accounts of its inhabitation in 1930s Paris, and presents new architectural readings of the Large Glass. Through a rich analysis, which incorporates creative projects into history and theory research, the book establishes new ways of writing about architecture. Designed for politically progressive gynaecologist Dr Jean Dalsace and his avant-garde wife, Annie Dalsace, the Maison de Verre combines a family home with a gynaecology clinic into a 'free-plan' layout. Screened only by glass walls, the presence of the clinic in the home suggests an untold dialogue on 1930s sexuality. The text explores the Maison de Verre through another radical glass construction, the Large Glass, where Duchamp's complex depiction of unconsummated sexual relations across the glass planes reveals his resistance to the marital conventions of 1920s Paris. This and other analyses of the Large Glass are used as a framework to examine the Maison de Verre as a register of the changing history of women's domestic and maternal choices, reclaiming the building as a piece of female social architectural history. The process used to uncover and write the accounts in the book is termed 'part-architecture'. Derived from psychoanalytic theory, part-architecture fuses analytical, descriptive and creative processes, to produce a unique social and architectural critique. Identifying three essential materials to the Large Glass, the book has three main chapters: 'Glass', 'Dust' and 'Air'. Combining theory text, creative writing and drawing, each traces the history and meaning of the material and its contribution to the spaces and sexuality of the Large Glass and the Maison de Verre. As a whole, the book contributes important and unique spatial readings to existing scholarship and expands definitions of architectural design and history.

Part-Architecture presents a detailed and original study of Pierre Chareau's Maison de Verre through another seminal modernist artwork, Marcel Duchamp's Large Glass. Aligning the two works materially, historically and conceptually, the book challenges the accepted architectural descriptions of the Maison de Verre, makes original spatial and social accounts of its inhabitation in 1930s Paris, and presents new architectural readings of the Large Glass. Through a rich analysis, which incorporates creative projects into history and theory research, the book establishes new ways of writing about architecture. Designed for politically progressive gynaecologist Dr Jean Dalsace and his avant-garde wife, Annie Dalsace, the Maison de Verre combines a family home with a gynaecology clinic into a 'free-plan' layout. Screened only by glass walls, the presence of the clinic in the home suggests an untold dialogue on 1930s sexuality. The text explores the Maison de Verre through another radical glass construction, the Large Glass, where Duchamp's complex depiction of unconsummated sexual relations across the glass planes reveals his resistance to the marital conventions of 1920s Paris. This and other analyses of the Large Glass are used as a framework to examine the Maison de Verre as a register of the changing history of women's domestic and maternal choices, reclaiming the building as a piece of female social architectural history. The process used to uncover and write the accounts in the book is termed 'part-architecture'. Derived from psychoanalytic theory, part-architecture fuses analytical, descriptive and creative processes, to produce a unique social and architectural critique. Identifying three essential materials to the Large Glass, the book has three main chapters: 'Glass', 'Dust' and 'Air'. Combining theory text, creative writing and drawing, each traces the history and meaning of the material and its contribution to the spaces and sexuality of the Large Glass and the Maison de Verre. As a whole, the book contributes important and unique spatial readings to existing scholarship and expands definitions of architectural design and history.