Architecture is expected to be solid, stable and reassuring-physically, socially and psychologically. Bound to each other, the architectural and the material are considered inseparable.
Jonathan Hill, architect and architectural historian, argues that the immaterial is as important to architecture as the material and has as long a history and so "Immaterial Architecture" explores the often conflicting forces that draw architecture towards either the material or the immaterial. The book discusses the pressures on architecture and the architectural profession to respectively be solid matter and solid practice, and considers concepts that align architecture with the immaterial, such as the superiority of ideas over matter, command of drawing, and design of spaces and surfaces.
Focusing on immaterial architecture as the perceived absence of matter more than the actual absence of matter, Hill devises new means to explore the creativity of the user and the architect. Users decide whether architecture is immaterial, but architects, and any other architectural producers, create material conditions in which that decision can be made. "Immaterial Architecture" advocates an architecture that fuses the immaterial and the material, and considers its consequences, challenging preconceptions about architecture, its practice, purpose, matter and use.

Architecture is made by use and by design. Drawing on the work of a wide range of architects, artists and writers, this book considers the relations between the architect and the user, which it compares to the relations between the artist and viewer and the author and reader. The book's thesis is informed by the text 'The Death of the Author', in which Roland Barthes argues for a writer aware of the creativity of the reader.

'The Death of the Author' is an important influence on artistic production, encouraging less didactic subject-object and artist-viewer relations than ones familiar in the art gallery. Its relevance to architecture is equally strong but largely unnoticed. Actions of Architecture argues for an architect aware of the creativity of the user. With a role as important in the formulation of architecture as that of the architect, the creative user either produces a new space or gives an existing one meanings and uses contrary to established behaviour.

Actions of Architecture begins with a critique of strategies that define the user as passive and predictable, such as contemplation and functionalism. Subsequently it considers how an awareness of user creativity informs architecture, architects and concepts of authorship in architectural design. Identifying strategies that recognize user creativity, such as appropriation, collaboration, disjunction, DIY, montage, polyvalence and uselessness, Actions of Architecture states that the creative user should be the central concern of architectural design.

The aim of this book is to expand the subject and matter of architecture, and to explore their interdependence. There are now many architectures. This book acknowledges architecture far beyond the familiar boundaries of the discipline and reassesses the object at its centre: the building. Architectural matter is not always physical or building fabric. It is whatever architecture is made of, whether words, bricks, blood cells, sounds or pixels. The fifteen chapters are divided into three sections - on buildings, spaces and bodies - which each deal with a particular understanding of architecture and architectural matter.
The richness and diversity of subjects and materials discussed in this book locates architecture firmly in the world as a whole, not just the domain of architects. In stating that architecture is far more than the work of architects, this book aims not to deny the importance of architects in the production of architecture but to see their role in more balanced terms and to acknowledge other architectural producers. Architecture can, for example, be found in the incisions of a surgeon, the instructions of a choreographer or the movements of a user. Architecture can be made of anything and by anyone.

Contents:
Contents.
Jonathan Hill, Introduction
Mark Cousins, Building an Architect
Katerina Ruedi, Curriculum Vitae. The Architect's Cultural Capital: Educational Practices and Financial Investments.
Lesley Naa Norle Lokko, ResponseAbility
Jeremy Till, Architecture of the Impure Community
Fat, Contaminating Contemplation
Carlos Villanueva Brandt, Space Within
Muf, Art and Architecture, Shared Ground
Jonathan Hill, The Illegal Architect
Paul Davies, The Landscape of Luxury
Ben Godber, The Knowing and Subverting Reader
Iain Borden, Body Architecture: Skateboarding and the Creation of Super-Architectural Space
Philip Tabor, Striking Home: The Telematic Assault on Identity
Jane Rendell, Doing it, (Un)Doing it, (Over)Doing it Yourself: Rhetorics of Architectural Abuse

Occupying Architecture focuses on the importance of the user in architecture, emphasising the cross-currents between design, theory and use, and the need for a wider cross-cultural approach to architecture. Proposing a complete re-working of the relations between design and experience to transform practices of the architect, the authors call for the dislocation of architecture from the profession and its relocation within an expanded cultural and social practice.
Beginning with the architect, the book proceeds to explore models for architectural practice that actively engage the issue of use, and concludes with examination of the user. The authors draw on illustrations and examples from London, Las Vegas, Barcelona, Bruges and elsewhere to discuss how and why architectural production and discourse ignores the user, focussing in particular on that which is being ignored. The apparant contradictions between the 'producer' and the 'product' of architecture are highlighted before the activities of the architect and the actions of the user are explored.
This book illustrates that architecture is not just a building: it is the relation between an object and its occupant.

eBook available with sample pages: HB:0415168155

A comprehensive guide to every significant Christian theologian from the first century to the death of John Duns Scotus in 1308, the 'Dictionary of Theologians' provides an invaluable window into the complex world of early and medieval Christian thought. The Dictionary encompasses the mainstream Eastern and Western traditions, as well as all notable heretical and sectarian movements, including information not previously available in English. Over 300 entries, indexed by name, each providing an accessible summary of a theologian's life and writings that reflects recent scholarship, as well as an up-to-date bibliography containing a wide range of the most important primary and secondary texts and translations. Useful for all levels of academia, the thoroughness of Hill's compilation provides an indispensable resource for even the most penetrating of studies on so large and varied a range of Church thinkers. About the Author: Jonathan Hill holds a MPhil in Theology from Oxford University and a PhD in Philosophy from National University of Singapore. He lives in London and Oxford. His previous publications include 'The History of Christian Thought' (2003), 'Faith in the Age of Reason' (2004), 'What Has Christianity Done For Us?' (2005) and 'The Big Questions' (2007).

Weather Architecture further extends Jonathan Hill s investigation of authorship by recognising the creativity of the weather. At a time when environmental awareness is of growing relevance, the overriding aim is to understand a history of architecture as a history of weather and thus to consider the weather as an architectural author that affects design, construction and use in a creative dialogue with other authors such as the architect and user.

Environmental discussions in architecture tend to focus on the practical or the poetic but here they are considered together. Rather than investigate architecture s relations to the weather in isolation, they are integrated into a wider discussion of cultural and social influences on architecture. The analysis of weather s effects on the design and experience of specific buildings and gardens is interwoven with a historical survey of changing attitudes to the weather in the arts, sciences and society, leading to a critical re-evaluation of contemporary responses to climate change.

Critical Architecture examines the relationship between critical practice in architecture and architectural criticism. Placing architecture in an interdisciplinary context, the book explores architectural criticism with reference to modes of criticism in other disciplines - specifically art criticism - and considers how critical practice in architecture operates through a number of different modes: buildings, drawings and texts.

With forty essays by an international cast of leading architectural academics, this accessible single source text on the topical subject of architectural criticism is ideal for undergraduate as well as post graduate study.

Architecture is expected to be solid, stable and reassuring-physically, socially and psychologically. Bound to each other, the architectural and the material are considered inseparable.
Jonathan Hill, architect and architectural historian, argues that the immaterial is as important to architecture as the material and has as long a history and so "Immaterial Architecture" explores the often conflicting forces that draw architecture towards either the material or the immaterial. The book discusses the pressures on architecture and the architectural profession to respectively be solid matter and solid practice, and considers concepts that align architecture with the immaterial, such as the superiority of ideas over matter, command of drawing, and design of spaces and surfaces.
Focusing on immaterial architecture as the perceived absence of matter more than the actual absence of matter, Hill devises new means to explore the creativity of the user and the architect. Users decide whether architecture is immaterial, but architects, and any other architectural producers, create material conditions in which that decision can be made. "Immaterial Architecture" advocates an architecture that fuses the immaterial and the material, and considers its consequences, challenging preconceptions about architecture, its practice, purpose, matter and use.

Architecture is made by use and by design. Drawing on the work of a wide range of architects, artists and writers, this book considers the relations between the architect and the user, which it compares to the relations between the artist and viewer and the author and reader. The book's thesis is informed by the text 'The Death of the Author', in which Roland Barthes argues for a writer aware of the creativity of the reader.

'The Death of the Author' is an important influence on artistic production, encouraging less didactic subject-object and artist-viewer relations than ones familiar in the art gallery. Its relevance to architecture is equally strong but largely unnoticed. Actions of Architecture argues for an architect aware of the creativity of the user. With a role as important in the formulation of architecture as that of the architect, the creative user either produces a new space or gives an existing one meanings and uses contrary to established behaviour.

Actions of Architecture begins with a critique of strategies that define the user as passive and predictable, such as contemplation and functionalism. Subsequently it considers how an awareness of user creativity informs architecture, architects and concepts of authorship in architectural design. Identifying strategies that recognize user creativity, such as appropriation, collaboration, disjunction, DIY, montage, polyvalence and uselessness, Actions of Architecture states that the creative user should be the central concern of architectural design.

Each architectural design is a new history. To identify what is novel or innovative, we need to consider the present, past and future. We expect historical narratives to be written in words, but they can also be delineated in drawing, cast in concrete or seeded in soil. The aim of this volume is to understand each design as a visible and physical history. Historical understanding is investigated as a stimulus to the creative process, highlighting how architects learn from each other and other disciplines. This encourages us to consider the stories about history that architects fabricate. An eminent set of international contributors reflect on the relevance of historical insight for contemporary design, drawing on the rich visual output of innovative studios worldwide in practice and education. Wide ranging and thought-provoking articles encompass fact, fiction, memory, time, etymology, civilisation, racial segregation and more. Features: Elizabeth Dow, Pezo von Ellrichshausen, Terunobu Fujimori, Perry Kulper, Lesley Lokko, Yeoryia Manolopoulou, Niall McLaughlin, Aisling O'Carroll, Arinjoy Sen, Amin Taha and Sumayya Vally.

The Architecture of Ruins: Designs on the Past, Present and Future identifies an alternative and significant history of architecture from the sixteenth century to the twenty-first century, in which a building is designed, occupied and imagined as a ruin. This design practice conceives a monument and a ruin as creative, interdependent and simultaneous themes within a single building dialectic, addressing temporal and environmental questions in poetic, psychological and practical terms, and stimulating questions of personal and national identity, nature and culture, weather and climate, permanence and impermanence and life and death. Conceiving a building as a dialogue between a monument and a ruin intensifies the already blurred relations between the unfinished and the ruined and envisages the past, the present and the future in a single architecture. Structured around a collection of biographies, this book conceives a monument and a ruin as metaphors for a life and means to negotiate between a self and a society. Emphasising the interconnections between designers and the particular ways in which later architects learned from earlier ones, the chapters investigate an evolving, interdisciplinary design practice to show the relevance of historical understanding to design. Like a history, a design is a reinterpretation of the past that is meaningful to the present. Equally, a design is equivalent to a fiction, convincing users to suspend disbelief. We expect a history or a novel to be written in words, but they can also be delineated in drawing, cast in concrete or seeded in soil. The architect is a 'physical novelist' as well as a 'physical historian'. Like building sites, ruins are full of potential. In revealing not only what is lost, but also what is incomplete, a ruin suggests the future as well as the past. As a stimulus to the imagination, a ruin's incomplete and broken forms expand architecture's allegorical and metaphorical capacity, indicating that a building can remain unfinished, literally and in the imagination, focusing attention on the creativity of users as well as architects. Emphasising the symbiotic relations between nature and culture, a building designed, occupied and imagined as a ruin acknowledges the coproduction of multiple authors, whether human, non-human or atmospheric, and is an appropriate model for architecture in an era of increasing climate change.

The aim of this book is to expand the subject and matter of architecture, and to explore their interdependence. This book acknowledges architecture far beyond the familiar boundaries of the discipline and reassesses the object at its centre: the building. Architectural matter is not always physical or building fabric. It is whatever architecture is made of, whether words, bricks, blood cells, sounds or pixels. The fifteen chapters are divided into three sections - on buildings, spaces and bodies - which each deal with a particular understanding of architecture and architectural matter.
The richness and diversity of subjects and materials discussed in this book locates architecture firmly in the world as a whole, not just the domain of architects. In stating that architecture is far more than the work of architects, this book aims not to deny the importance of architects in the production of architecture but to see their role in more balanced terms and to acknowledge other architectural producers. Architecture can, for example, be found in the incisions of a surgeon, the instructions of a choreographer or the movements of a user. Architecture can be made of anything and by anyone.

The Architecture of Ruins: Designs on the Past, Present and Future identifies an alternative and significant history of architecture from the sixteenth century to the twenty-first century, in which a building is designed, occupied and imagined as a ruin. This design practice conceives a monument and a ruin as creative, interdependent and simultaneous themes within a single building dialectic, addressing temporal and environmental questions in poetic, psychological and practical terms, and stimulating questions of personal and national identity, nature and culture, weather and climate, permanence and impermanence and life and death. Conceiving a building as a dialogue between a monument and a ruin intensifies the already blurred relations between the unfinished and the ruined and envisages the past, the present and the future in a single architecture. Structured around a collection of biographies, this book conceives a monument and a ruin as metaphors for a life and means to negotiate between a self and a society. Emphasising the interconnections between designers and the particular ways in which later architects learned from earlier ones, the chapters investigate an evolving, interdisciplinary design practice to show the relevance of historical understanding to design. Like a history, a design is a reinterpretation of the past that is meaningful to the present. Equally, a design is equivalent to a fiction, convincing users to suspend disbelief. We expect a history or a novel to be written in words, but they can also be delineated in drawing, cast in concrete or seeded in soil. The architect is a 'physical novelist' as well as a 'physical historian'. Like building sites, ruins are full of potential. In revealing not only what is lost, but also what is incomplete, a ruin suggests the future as well as the past. As a stimulus to the imagination, a ruin's incomplete and broken forms expand architecture's allegorical and metaphorical capacity, indicating that a building can remain unfinished, literally and in the imagination, focusing attention on the creativity of users as well as architects. Emphasising the symbiotic relations between nature and culture, a building designed, occupied and imagined as a ruin acknowledges the coproduction of multiple authors, whether human, non-human or atmospheric, and is an appropriate model for architecture in an era of increasing climate change.

Furious floods, looming landslides, terrifying tornadoes, ferocious forest fires! Is Mother Nature trying to tell us something? As "snowpocalypse" descends once again, one temperamental weatherman is determined to set the record straight on the myths and misconceptions surrounding the elements. What is the difference between weather and climate? How do weather satellites predict the future? Can someone outrun a tornado? Does the rotation of the Earth affect wind currents? And does meteorology have anything to do with meteors? Stormin' Norman Weatherby is gearing up to answer all your wildest questions!

Drawing on the experiences of his Vietnamese American family and his love of ’80s sci-fi shows, Jonathan Hill crafts a funny, insightful graphic novel about the immigrant experience and the perils of middle school. Threatened with diminishing resources, Booger Lizk’t and his family flee their lizard community deep below Earth’s crust to survive above among humans. The Lizk’t family of Elberon now passes as the Tomkins family of Eagle Valley. “Tommy Tomkins” wears a human face to school but can’t seem to fit in no matter how he looks. The basketball team becomes a pipe dream when bullies label him a bug eater, and only Dung Tran, an immigrant from Vietnam and fellow outsider, sees Tommy for who he is inside, which is nothing like the outer-space lizard invaders on TV’s hottest series. Can their friendship survive the truth? In his first solo middle-grade book, award-winning creator Jonathan Hill perfectly captures the sometimes dystopian drama of middle school while reminding readers of the universal need for belonging.

The growth of both philosophy of mind and cognitive science has developed our understanding of the human mind in ways that just a few decades ago were unthinkable. As ideas from philosophy of mind begin to cross over into philosophy of religion, there is renewed interest in questions about the divine mind, about how it might relate to a human body, and about whether incarnation itself might be articulated with the conceptual tools offered by the current research developments in the philosophy of mind. This book offers original essays by leading philosophers of religion representing these new approaches to theological problems such as incarnation. The doctrine of incarnation - that Jesus Christ was God become human - has always been one of the most central and distinctive features of Christianity. Similar doctrines about divine humans can be found in other religions, from the claims to divinity made by ancient kings and emperors to the concept of avatars in Hinduism. But many people regard the notion that a human being could also be divine as unjustifiable or incoherent, and none of the many attempts to articulate it philosophically has earned general acceptance. The authors explore, from a variety of different viewpoints, whether any metaphysically rigorous and coherent model of incarnation can be defended today. Their aim is to give readers a clearer sense not only of the problems and possible new solutions associated with incarnation itself, but of how the notion of incarnation may be fitted in to wider current debates in philosophy.

Critical Architecture examines the relationship between critical practice in architecture and architectural criticism. Placing architecture in an interdisciplinary context, the book explores architectural criticism with reference to modes of criticism in other disciplines - specifically art criticism - and considers how critical practice in architecture operates through a number of different modes: buildings, drawings and texts. With forty essays by an international cast of leading architectural academics, this accessible single source text on the topical subject of architectural criticism is ideal for undergraduate as well as post graduate study.

Conduct disorders are very common conditions and the most frequent reason for clinical referrals to child and adolescent mental health facilities. Aggression and oppositional behavior in youth often becomes persistent, and substantially increases the likelihood of adult problems of criminality, unstable relationships, psychiatric disorder, and harsh parenting. This comprehensive book by leading clinicians and researchers reviews established and emerging aspects of conduct disorder. It highlights the complexity and probable heterogeneity of the condition, including the biological, neuropsychological, cognitive factors, and role of attachment and family influences. The book reviews preventive and treatment approaches and outcomes with developmental and gender-based variations emphasized throughout. This uniquely authoritative survey of a common clinical and social problem integrates findings from a wide range of research perspectives, and will be essential reading for mental health practitioners and others with clinical, sociological, or medicolegal interests in child health and behavior.

Philosophical ideas about the mind, brain, and behavior can seem theoretical and unimportant when placed alongside the urgent questions of mental distress and disorder. However, there is a need to give direction to attempts to answer these questions. On the one hand a substantial research effort in going into the investigation of brain processes and the development of drug treatments for psychiatric disorders, and on the other, a wide range of psychotherapies is becoming available to adults and children with mental health problems. These two strands reflect traditional distinctions between mind and body, and causal as opposed to meaningful explanations of behavior. In this book, which has been written for psychiatrists, psychologists, philosophers, and others in related fields, the authors propose a radical re-interpretation of these traditional distinctions. Throughout the discussions philosophical theories are brought to bear on the particular questions of the explanation of behaviors, the nature of mental causation, and eventually the origins of major disorders including depression, anxiety disorders, schizophrenia, and personality disorder.
First published in 1996, this volume played an important role in bridging the gap between philosophy and psychiatry, and introducing those in psychiatry to philosophical ideas somewhat neglected in their field. Completely updated, the new edition of this acclaimed volume draws on the strengths of the first edition, and will be a central text in the burgeoning field of philosophy of psychiatry.

Cardiovascular disease remains the major cause of morbidity and mortality throughout developed countries and is also rapidly increasing in developing countries. Cardiovascular medicine and the specialty of cardiology continue to expand, and the remit of the cardiologist is forever broader with the development of new sub-specialties. The Oxford Handbook of Cardiology provides a comprehensive but concise guide to all modern cardiological practice with an emphasis on practical clinical management in many different contexts. This second edition addresses all the key advances made in the field since the previous edition, including interventional cardiology, electrophysiology, and pharmacology. It expands the remit to medical students and the more junior doctor while retaining the level of detail required by more senior practitioners within the field.

The dramatic and compelling account of how a serial killer was finally unmasked after evading justice for more than twenty years.

Soon to be a major TV series starring Luke Evans

1980s. In the beautiful, unspoiled landscape of Pembrokeshire, a serial killer is at large: two double murders; an assault; the rape and assault of two teenagers - all potentially the work of one man.

This is the fascinating true story of a brutal murderer and the detectives who worked the cold case for six years in order to bring him to justice. Combining cutting edge forensic techniques with old fashioned detective work, a team of detectives worked to build a case against their prime suspect. But it was a race against time: would he strike again?

No one could predict that the killer's appearance on a gameshow would provide bizarre but crucial evidence.

The operation is now recognised as one of the greatest cold case reviews ever undertaken in the UK.

The killer is now serving a "life means life" sentence.

What significance does the voice or projected persona in which a text is written have for our understanding of the meaning of that text? This volume explores the persona of the author in antiquity, from Homer to late antiquity, taking into account both Latin and Greek authors from a range of disciplines. The thirteen chapters are divided into two main sections, the first of which focuses on the diverse forms of writing adopted by various ancient authors, and the different ways these forms were used to present and project an authorial voice. The second part of the volume considers questions regarding authority and ascription in relation to the authorial voice. In particular, it looks at how later readers - and later authors - may understand the authority of a text's author or supposed author. The volume contains chapters on pseudo-epigraphy and fictional letters, as well as the use of texts as authoritative in philosophical schools, and the ancient ascription of authorship to works of art.

Until relatively recently, almost all contracts were domestic: both the consumer and the supplier were from the same country and the situation involved no substantial foreign elements. Technological changes (in terms of international travel, means of communication and information technology) have meant that it is a more frequent occurrence for consumer contracts to involve a cross-border dimension.
This book explores the legal regimes which seek to deal with disputes which arise out of such cross-border consumer contracts. In terms of private international law, English law traditionally treated consumer contracts no differently from commercial contracts. However, at European level, jurisdictional and choice of law issues arising out of certain consumer contracts are subject to specific rules. The first part of the book focuses on these European developments and seeks to explain why the private litigation model for the resolution of disputes arising out of cross-border consumer contracts has failed to deal adequately with the problems generated by such contracts. Subsequent to these failures, alternative mechanisms for resolving contractual disputes have a particular significance in the consumer context. The second part of the book focuses on an evaluation of these alternative dispute resolution mechanisms, including online dispute resolution.