Architecture and Psychoanalysis is an analysis of the relation between psychoanalytic theory and compositional strategies in architecture. In psychoanalysis it focuses on the writing of Jacques Lacan as well as theories of the structure of the psyche, linguistics, and perception. In architecture it focuses on the writings and projects of Peter Eisenman. There are extended discussions on the thought of figures such as Sigmund Freud, Ferdinand de Saussure, and Jacques Derrida, and of the architecture of figures such as Leon Battista Alberti, Francesco Borromini, Giuseppe Terragni, and Ludwig Mies van der Rohe.

A provocative case for historical ambiguity in architecture by one of the field's leading theorists Conceptions of modernity in architecture are often expressed in the idea of the zeitgeist, or "spirit of the age," an attitude toward architectural form that is embedded in a belief in progressive time. Lateness explores how architecture can work against these linear currents in startling and compelling ways. In this incisive book, internationally renowned architect Peter Eisenman, with Elisa Iturbe, proposes a different perspective on form and time in architecture, one that circumvents the temporal constraints on style that require it to be "of the times"-lateness. He focuses on three twentieth-century architects who exhibited the qualities of lateness in their designs: Adolf Loos, Aldo Rossi, and John Hejduk. Drawing on the critical theory of Theodor Adorno and his study of Beethoven's final works, Eisenman shows how the architecture of these canonical figures was temporally out of sync with conventions and expectations, and how lateness can serve as a form of release from the restraints of the moment. Bringing together architecture, music, and philosophy, and drawing on illuminating examples from the Renaissance and Baroque periods, Lateness demonstrates how today's architecture can use the concept of lateness to break free of stylistic limitations, expand architecture's critical capacity, and provide a new mode of analysis.

As climate, culture, and technology evolve and become increasingly unpredictable, architecture's stasis becomes more incongruous. Werewolf explores an emerging but under-investigated branch of architecture that embraces the transformation of form, performance, and the responsiveness to environments and context. These ideas are studied through architectural precedents and framed by critical essays by Jesse Reiser, Greg Lynn, Jimenez Lai, Spyros Papapetros, Kari Weil, as well as the editors. The shift from passive buildings to reactive structures is now imperative, as climate change and political turmoil exacerbate the unpredictability of environments. Werewolf expands on the architect's agency to critically address political, social, and environmental unrest. Revealing the cunning and agile ways in which architecture can negotiate rather than resist change, this book departs from the fixed Vitruvian man and uses the figure of the werewolf to propose a model where changes of state, mutation, and decomposition are conceptually fundamental.

Peter Eisenman-world-famous for his Holocaust Memorial in Berlin (2005)-confronts historicism with theory and the analysis of form, whose distinguishing features he regards as the foundation of architectural composition. The architect illustrates his observations with numerous, extremely precise hand drawings. Eisenman wrote The Formal Basis of Modern Architecture, his dissertation, in 1963 at the University of Cambridge. The dissertation was first published as a facsimile edition by Lars Muller Publishers in 2006. The original content of the publication is now available again-the book is reprinted in a smaller format. "I knew what I wanted to write," Eisenman says of the dissertation. "An analytic work that related what I had learned to see, from Palladio to Terragni, from Raphael to Guido Reni, into some theoretical construct that would bear on modern architecture, but from the point of view of a certain autonomy of form." Hence the title of his research.