The theory of interest is one of the most controversial areas in economic theory. Keynes' liquidity preference theory has been largely ignored but this study aims to show that it is worthy of reconsideration. Although the inspiration is derived from Keynes' original thoughts, the theory has been recast from the ground up, starting with more exacting definitions of liquidity and liquidity preference. A theory relevant to modern economics must take account of the motivations of speculative wealth-holders and show how they interact with time preferences of savers and the capital productivity considerations of producer-investors. Fiona Maclachlan reaches the unconventional result that liquidity preference, in itself, can explain the existence of interest, but that time preference and capital productivity cannot. This result is reinforced with a model showing how, under assumptions plausible for an economy with developed financial institutions, speculative wealth-holders can dominate over savers and producer-borrowers in determining the level of interest. The central argument is also supported by Keynes' writings.

In Keynes' General Theory of Interest Fiona Maclachlan rehabilitates the largely discredited liquidity preference theory of interest, providing an original and rigorously reasoned restatement of the theory. Her provocative book draws on the methodological tenets of the Austrian school and is grounded firmly both in the history of economic thought and in real world economic institutions.

How do architects use color? Do they adopt a different strategy or starting point for every project? Do they gradually cultivate individual color palettes, which develop alongside their body of built work? Do they utilize, or are they aware of, the body of theoretical work that underpins the use of color in the past, and forms the basis of most of the color systems commercially available today? Informed by the author's thirty years in architectural practice and academia, this book investigates, documents and analyzes the work of a number of contemporary architects in order to respond to these questions and provide a clear reference of contemporary color use. The book suggests a holistic approach to the integration of color in architecture; through a series of thematic essays, the text explores and reveals underlying principles in color design and application. Case studies include: AHMM Caruso St John Erich Wiesner and Otto Steidle Gigon/Guyer O'Donnell + Tuomey Sauerbruch Hutton Steven Holl UN Studio. The book provides clear insights into how particular contemporary architects use color confidently and intelligently as an integral part of their design philosophy, in conjunction with their choices of materials and finishes. Offering a stimulating view of the history of color theory, and pragmatic advice to practicing architects, this book will be inspiring to both design professionals and students.

The book discusses the role of art in architecture with a particular focus on colour and the dynamic relationships between light, form, material surface, space and movement. Drawing on historical examples to establish recurring themes, it examines the work of artists and architects whose use of colour is informed by artistic practice. Engagingly written and beautifully illustrated, it is divided into three main sections: the first focusing on architecture, the second on the artworks and the final section on collaboration. Throughout, it bridges time, insightfully comparing historic artworks and spaces with contemporary ones, addressing key questions such as 'if an artwork is self-sufficient, how is this accommodated within an architectural setting without compromising both?' and setting out examples of what does and doesn't work.