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This welcome addition to the SULI series seeks for the first time
in Scots law to identify and analyse the body of law known as
"unjustified enrichment" in which, as identified by the Court of
Session, the condictiones represent causes of action and
restitution and recompense remedies. This book concentrates on the
law of the condictio which it seeks to elaborate beyond the
foundations laid by recent case law according to a fundamental
distinction between two groups of enrichment case: those that arise
from deliberate conferral (the subject matter of this volume) and
all othercases. The text provides an authoritative and
comprehensive account of the subject, and will establish a scheme
of the precise features and limits of claims of unjustified
enrichment. Robin Evans-Jones analyses the circumstances in which
an obligation of restitution exists, the basis of each claim, the
content of the obligation and its precise limits.
Robin Evans recasts the idea of the relationship between geometry
and architecture, drawing on mathematics, engineering, art history,
and aesthetics to uncover processes in the imagining and realizing
of architectural form. Anyone reviewing the history of
architectural theory, Robin Evans observes, would have to conclude
that architects do not produce geometry, but rather consume it. In
this long-awaited book, completed shortly before its author's
death, Evans recasts the idea of the relationship between geometry
and architecture, drawing on mathematics, engineering, art history,
and aesthetics to uncover processes in the imagining and realizing
of architectural form. He shows that geometry does not always play
a stolid and dormant role but, in fact, may be an active agent in
the links between thinking and imagination, imagination and
drawing, drawing and building. He suggests a theory of architecture
that is based on the many transactions between architecture and
geometry as evidenced in individual buildings, largely in Europe,
from the fifteenth to the twentieth century. From the Henry VII
chapel at Westminster Abbey to Le Corbusier's Ronchamp, from
Raphael's S. Eligio and the work of Piero della Francesca and
Philibert Delorme to Guarino Guarini and the painters of cubism,
Evans explores the geometries involved, asking whether they are in
fact the stable underpinnings of the creative, intuitive, or
rhetorical aspects of architecture. In particular he concentrates
on the history of architectural projection, the geometry of vision
that has become an internalized and pervasive pictorial method of
construction and that, until now, has played only a small part in
the development of architectural theory. Evans describes the
ambivalent role that pictures play in architecture and urges
resistance to the idea that pictures provide all that architects
need, suggesting that there is much more within the scope of the
architect's vision of a project than what can be drawn. He defines
the different fields of projective transmission that concern
architecture, and investigates the ambiguities of projection and
the interaction of imagination with projection and its metaphors.
The third book in the best-selling MILL OF THE FLEA series,
continuing the often farcical and always entertaining adventures of
the author and his wife as they attempt to make a new life in rural
France. Totally unlike any other book in the genre, FRENCH LETTERS
takes the reader on another visit to a remote area of Normandy
where time is of little value and reluctant tractors (and their
drivers) are kick-started on frosty mornings with a tot of
moonshine apple brandy. During another eventful year at the Mill of
the Flea, the author and his wife once again encounter a host of
improbable characters and situations, like the vegetarian couple
who set up home next to a veal farm and an elderly post-mistress
who grows highly illegal pot plants while enticing a colony of
hornets to set up home in her attic -
In this hilarious collection of cautionary tales and anecdotes,
George East discusses all the delights and drawbacks of finding,
buying and restoring French property. HOME & DRY IN FRANCE
follows the early adventures of George and Donella East as they
make every mistake in the (not-then-written) book about how and how
not to buy a second home across the Channel. Tellingly subtitled A
YEAR IN PURGATORY, the book is much more than a listing of all the
awful pitfalls awaiting the innocent abroad: it is the hilarious
and always entertaining account of how a couple set out with a
dream - and came close to turning it in to a nightmare.
First published in 1982, this book describes a new kind of prison
architecture that developed in the late eighteenth and early
nineteenth centuries. The book concentrates on architecture, but
places it in the context of contemporary penal practice and
contemporary thought. Beginning with an exploration on the
eighteenth-century prisons before reform, the book goes on to
consider two earlier kinds of imprisonment that were modified by
eighteenth-century reformers. The theory and practice of prison
design is covered in detail. The later parts of the book deals with
alliance between architecture and reform, and with the connection
between the utilitarian architecture of the reformed prisons and
academic neo-classicism. The overall aim of the book is to show the
profound change that was being wrought in the nature of
architecture, which was exemplified in the reformed prisons.
Architecture, one emblem of the social order, was now one of its
fundamental instruments.
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