This beautifully compact book - the combined discourse of a moral philosopher and an architect - provides us with a parti pris for contemplating the often contradictory interplay of ethics and aesthetics in the generation and perception of architectural form. The authors jointly acknowledge the challenges poised by the conflict between raw instrumentality and the nuances of environmental culture. In so doing they identify six ethical categories which have the capacity to impact fundamental issues pertaining to the genesis of built form and, similarly, a set of values with regard to function, context, time and intellect, which we may discern either together or separately in our reception of architecture.

Provocative, timely and extensive in scope, Architecture and its Ethical Dilemmas examines the changing role of architects and the particular professional dilemmas they face.
Architects and designers are constantly confronted by these ethical issues ranging from professional issues to more philosophical questions. Should architects spend some of their clients' money on features that would improve buildings even if they're not necessary or part of the clients' design brief? Who is architecture for? As the products of the architect's work are often in the public domain and reflect society's values, are architects too merely servants of society? What place does the professional architect-client relationship have in the 21st century? Can aesthetics be disassociated from ethics in a visual medium?
A cast of leading writers and practitioners tackle these questions from a range of perspectives across architecture, the building and design industries, social theory and philosophy to contribute to the growing literature in the sociology of the professions.

Connects the practice of architecture with its recent history and its theoretical origins - analysing in straightforward and jargon-free language the genesis of modernism and the complex reactions to it Provides students with a clear understanding of the history of twentieth-century architecture, written with close critical attention to the theories that lie behind the built works described Illustrated with 200 colour and black and white illustrations, it is an enormously clear and accessible resource for any student of architecture

A cast of leading writers and practitioners tackle the ethical questions that architects are increasingly facing in their work, from practical considerations in construction to the wider social context of buildings, their appearance, use and place in the narrative of the environment. This book gives an account of these ethical questions from the perspectives of historical architectural practice, philosophy, and business, and examines the implications of such dilemmas. Taking the current discussion of ethics in architecture on to a new stage, this volume provides an accumulation of diverse opinions, focusing on architects' actions and products that materially affect the lives of people in all urbanized societies.

Connects the practice of architecture with its recent history and its theoretical origins - analysing in straightforward and jargon-free language the genesis of modernism and the complex reactions to it Provides students with a clear understanding of the history of twentieth-century architecture, written with close critical attention to the theories that lie behind the built works described Illustrated with 200 colour and black and white illustrations, it is an enormously clear and accessible resource for any student of architecture

Cambridge Architecture offers a brief, illustrated introduction to the architecture of Cambridge, using selected examples of buildings from the Middle Ages to the present day as the basis for an investigation into architecture itself. The author describes the way in which buildings are composed, and how they may in turn be 'read', and introduces a number of levels of interpretation to those who may be unfamiliar with looking at buildings. Issues of iconography, questions of ethics, and the ways in which architecture may mirror society or indicate significant changes of taste are all touched upon. The examples chosen are treated chronologically, but with frequent cross-referencing. Each chapter contains a map, locating the examples discussed, and notes for further reading. The book is aimed at anyone interested in the history of architecture, and assumes no previous technical knowledge of the subject.

Nicholas Ray directs this film noir adaptation of the novel by Dorothy B. Hughes starring Humphrey Bogart and Gloria Grahame. Troubled screenwriter Dixon Steele (Bogart) is given the opportunity to reinvigorate his failing career by creating a film adaptation of a trashy novel. After balking at the thought of actually reading it, Dixon hires Mildred (Martha Stewart), who he meets in a bar, to summarise the novel for him. They leave the bar together but when Mildred is found murdered the next day Dixon is the prime suspect. His only forthcoming alibi is from Laurel Gray (Grahame), who testifies to his innocence out of affection, rather than truth. As the pair fall helplessly in love, Laurel is haunted by the possibility that Dixon was the murderer.

One of the most original, rebellious, and idiosyncratic directors in the American cinema, Nicholas Ray lived and worked with an intensity equal to that of his films. Best known for his direction of James Dean in "Rebel Without a Cause" (1955), he is also well regarded for his cult western "Johnny Guitar" (1954), and such prestigious noir classics as "On Dangerous Ground" (1951). "I Was Interrupted" offers a provocative selection of the filmmaker's writings, lectures, interviews, and more.

This book presents a new account of the complex relationship between psychoanalytic theory and the key tragic dramas by Sophocles and Shakespeare in which it has often sought exemplars and prototypes. Examining the close historical and theoretical connections between Freud’s interpretative appeal to tragic drama and his professed abandonment of the ‘seduction’ hypothesis in 1897, the author explores the ways in which otherness has subsequently been simplified out of both psychoanalytic theory and the dramatic texts it endeavours to comprehend. Drawing on Jean Laplanche’s critical reformulation of the seduction theory, the book offers close rereadings of Oedipus Tyrannus, Julius Caesar and Hamlet in order to outline an approach to tragedy which takes account of the constitutive priority of the other in the itinerary of the tragic subject. By reopening the theme of seduction in relation to these key literary dramas, the book aims to generate a better understanding both of the function which psychoanalysis has called upon tragedy to perform, and the radical modes of otherness within tragedy for which psychoanalysis has hitherto remained unable to account.