Although the work of Henri Lefebvre has become better known in the English speaking world since the 1991 English translation of his 1974 masterpiece, The Production of Space, his influence on the actual production of space, of architecture and the city, has been less pronounced. Even if he is now widely read in schools of architecture, planning and urban design, Lefebvre's message for practice remains elusive; inevitably so because the entry of his work into the consciousness of the Anglosphere has come with repression of the two most challenging aspects of his thinking: romanticism and utopia, which simultaneously confront modernity while being progressive. Arguably, contemporary discomfort with romanticism and utopia obstructs movement of Lefebvre's thinking from being an object of theoretical interest to actually influencing practice. Utopia is the lynchpin of Lefebvre's enterprise. Understanding and acting upon architecture and the city with Lefebvre but without utopia impoverishes his theoretical construct. His ideas on practice and the methods he elaborated are fundamentally utopian.Although utopia may seem to have no place in the present, Lefebvre reveals this as little more than a self-serving affirmation that 'there is no alternative' to social and political detachment. Demanding the impossible may end in failure but doing so is the first step towards other possibilities. To think about Lefebvre is to think about utopia, and thinking about utopia when thinking with Lefebvre is to make contact with what is most enduring about his project for the city and its inhabitants, and with what is most radical about it as well. Lefebvre for Architects offers a concise account of the relevance of Henri Lefebvre's writing for the theory and practice of architecture, planning and urban design. This book is accessible for students and practitioners who wish to fully engage with the design possibilities offered by Lefebvre's philosophy.

Utopian thought, though commonly characterized as projecting a future without a past, depends on golden models for re-invention of what is. Through a detailed and innovative re-assessment of the work of three architects who sought to represent a utopian content in their work, and a consideration of the thoughts of a range of leading writers, Coleman offers the reader a unique perspective of idealism in architectural design.

With unparalleled depth and focus of vision on the work of Le Corbusier, Louis I Kahn and Aldo van Eyck, this book persuasively challenges predominant assumptions in current architectural discourse, forging a new approach to the invention of welcoming built environments and transcending the limitations of both the postmodern and hyper-modern stance and orthodox modernist architecture.

Although the work of Henri Lefebvre has become better known in the English speaking world since the 1991 English translation of his 1974 masterpiece, The Production of Space, his influence on the actual production of space, of architecture and the city, has been less pronounced. Even if he is now widely read in schools of architecture, planning and urban design, Lefebvre's message for practice remains elusive; inevitably so because the entry of his work into the consciousness of the Anglosphere has come with repression of the two most challenging aspects of his thinking: romanticism and utopia, which simultaneously confront modernity while being progressive. Arguably, contemporary discomfort with romanticism and utopia obstructs movement of Lefebvre's thinking from being an object of theoretical interest to actually influencing practice. Utopia is the lynchpin of Lefebvre's enterprise. Understanding and acting upon architecture and the city with Lefebvre but without utopia impoverishes his theoretical construct. His ideas on practice and the methods he elaborated are fundamentally utopian.Although utopia may seem to have no place in the present, Lefebvre reveals this as little more than a self-serving affirmation that 'there is no alternative' to social and political detachment. Demanding the impossible may end in failure but doing so is the first step towards other possibilities. To think about Lefebvre is to think about utopia, and thinking about utopia when thinking with Lefebvre is to make contact with what is most enduring about his project for the city and its inhabitants, and with what is most radical about it as well. Lefebvre for Architects offers a concise account of the relevance of Henri Lefebvre's writing for the theory and practice of architecture, planning and urban design. This book is accessible for students and practitioners who wish to fully engage with the design possibilities offered by Lefebvre's philosophy.

Interweaving architecture, philosophy and cultural history, Materials and Meaning in Architecture develops a rich and multi-dimensional exploration of materials and materiality, in an age when architectural practice seems otherwise preoccupied with image and visual representation. Arguing that architecture is primarily experienced by the whole body, rather than chiefly with the eyes, this broad-ranging study shows how the most engaging built works are as tactile as they are sensuous, communicating directly with the bodily senses, especially touch. It explores the theme of 'material imagination' and the power of establishing 'place identity' in an architect's work, to consider the enduring expressive possibilities of material use in architecture. The book's chapters can be dipped into, each individual chapter providing close readings of built works by selected modern masters (Scarpa, Zumthor, Williams and Tsien), insights into key texts and theories (Ruskin, Loos, Bachelard), or short cultural histories of materials (wood, brick, concrete, steel, and glass). And yet, taken together, the chapters build to a powerful book-length argument about how meaning accrues to materials through time, and about the need to reinsert the bodily experience of materiality into architectural design. It is thus also, in part, a manifesto: arguing for architecture to act as a bulwark against the tide of an increasingly depersonalised built environment. With insights for a wide range of readers, ranging from students through to researchers and professional designers, Materials and Meaning in Architecture will cause theorists to rethink their assumptions and designers to see new potential for their projects.

The essays in "The Hand and the Soul" explore the question of how ethical ideas guiding the design process--a concern for the environment or for social justice--relate to the beauty of our buildings, cities, and artworks. The book presents a range of viewpoints and does not ignore the perils of an easy association of ethics and aesthetics. Yet the majority of contributors, among them historians, theorists, as well practicing designers and artists, argue passionately in defense of the idea that the good and the beautiful can and should be able to find a common ground in the design disciplines.

The book begins with an exploration of recent difficulties in pairing ethics and aesthetics. Can one effect a philosophical convergence of these elements, or is it dangerous to conflate moral and aesthetic terms? The discussion continues with considerations of the overlap that occurs between the fine arts and the design disciplines, the intersection of aesthetic theory and practice with sustainability and environmental science, and the concept of "open works"--projects whose design processes are flexible, nonhierarchical, and attuned to the unique features of a particular place or cultural situation. The book concludes with a look at several contrasting ideas developed in the essays and examines ethics as a desire for community, as well as a sense of responsibility, an obligation to contemplate not only what buildings offer us but also what they may take away.

In juxtaposing the work of historians and theorists with that of practicing designers and artists, "The Hand and the Soul, " whose title is drawn from an essay by American artist Philip Guston, seeks to bridge the divide between theory and practice, between abstract ethical or aesthetic concepts and practical ways of making tangible artifacts. In a field dominated by esoteric studies and, at the other extreme, primarily illustrated works, "The Hand and the Soul" offers a vital discussion that is at once theoretically rigorous and grounded in the practice of art, architecture, landscape architecture, and urbanism.

Contributors

Richard Shusterman * Joan Ockman * Howard Singerman * Robin Dripps * Nathaniel Coleman * Thomas Berding * Steven A. Moore * William Sherman * Timothy Beatley * Elissa Rosenberg * Phoebe Crisman * Sanda Iliescu * W. G. Clark