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.

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.

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 -

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.

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.