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.

Although the association between architecture and utopia (the relationship between imagining a new world and exploring how its new conditions can best be organized) might appear obvious from within the domain of utopian studies, architects have long attempted to dissociate themselves from utopia. Concentrating on the difficulties writers from both perspectives experience with the topic, this collection interrogates the meta-theoretical problematic for ongoing intellectual work on architecture and utopia. The essays explore divergent manifestations of the play of utopia on architectural imagination, situated within specific historical moments, from the early Renaissance to the present day. The volume closes with an exchange between Nathaniel Coleman, Ruth Levitas, and Lyman Tower Sargent, reflecting on the contributions the essays make to situating architecture and utopia historically and theoretically within utopian studies, and to articulating utopia as a method for inventing and producing better places. Intriguing to architects, planners, urban designers, and others who study and make the built environment, this collection will also be of interest to utopian studies scholars, students, and general readers with a concern for the interrelationships between the built environment and social dreaming.

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.