Essays at the intersection of philosophy and architecture explore how we understand and inhabit space. To be outside allows one a fresh perspective on the inside. In these essays, philosopher Elizabeth Grosz explores the ways in which two disciplines that are fundamentally outside each another—architecture and philosophy—can meet in a third space to interact free of their internal constraints. "Outside" also refers to those whose voices are not usually heard in architectural discourse but who inhabit its space—the destitute, the homeless, the sick, and the dying, as well as women and minorities. Grosz asks how we can understand space differently in order to structure and inhabit our living arrangements accordingly. Two themes run throughout the book: temporal flow and sexual specificity. Grosz argues that time, change, and emergence, traditionally viewed as outside the concerns of space, must become more integral to the processes of design and construction. She also argues against architecture's historical indifference to sexual specificity, asking what the existence of (at least) two sexes has to do with how we understand and experience space. Drawing on the work of such philosophers as Henri Bergson, Roger Caillois, Gilles Deleuze, Jacques Derrida, Luce Irigaray, and Jacques Lacan, Grosz raises abstract but nonformalistic questions about space, inhabitation, and building. All of the essays propose philosophical experiments to render space and building more mobile and dynamic.

Inside Outside constructs a framework of interpretation for architecture and landscape architecture in order to disclose relations between them that are normally overlooked. Five operations--reciprocity, materiality, threshold, insertion, and infrastructure--each initiate an alternative way of looking at the construction and representation of relationships between architecture, landscape, city, and individuals. Twenty-four projects each contribute in a unique way to the definition of an operation.

Honored with the 1990 American Institute of Architects Gold Medal for a lifetime of outstanding achievement, Fay Jones is an Arkansas original. In receiving the medal from Prince Charles of Great Britain, Jones was hailed as a “powerful and special genius who embodies nearly all the qualities we admire in an architect” and as an artist who used his vision to craft “mysterious and magical places” not only in Arkansas but all over the world. This book accompanied a special museum exhibit of Jones’s life and work at the Old State House in Little Rock. It traces Jones’s development from his early years as a student of Frank Lloyd Wright and Bruce Goff, to the culmination of his ability in such arresting structures as Pinecote Pavilion in Picayune, Mississippi; Thorncrown Chapel in Eureka Springs, Arkansas; and Chapman University Chapel in Orange, California. Through the black-and-white photographs of the homes, chapels, and other buildings that Jones has created and the accompanying captions and interviews of the architect, the reader is allowed a view into this man’s remarkable talent. Designing structures that fuse architecture and landscape, the organic and the man-made, Jones has created special places which touch their viewers with the power and subtlety of poetry. Herein we learn why. From the Foreword by Robert Adams Ivy Jr.: “Fay Jones’s architecture begins in order and ends in mystery. . . . His role can perhaps best be understood as mediator, a human consciousness that has arisen from the Arkansas soil and scoured the cosmos, then spoken through the voices of stone and wood, steel and glass. Art, philosophy, craft, and human aspiration coalesce in his masterworks, transformed from acts of will into harmonies: Jones lets space sing.”

This book explores how psychoanalysis and architecture can enhance and increase the chances of mental 'containment', while also fostering exchange between inside and outside. The way in which psychoanalysts take care of mental suffering, and the way in which architects and city planners assess the environment, are grounded in a shared concern with the notion of 'dwelling'. It is a matter of fact that dwelling exists in a complex context comprised of both biological need and symbolic function. Psychoanalysis and architecture can work together in both thinking about and designing not only our homes but also the analyst's consulting rooms and, more generally, our therapy places. However, this is possible only if they renounce the current limited and restrictive model of this interaction, and propose one more that is more in harmony with the questions and situations that clients themselves pose.

Architects, however, tend to deny this, fearing contingency and preferring to pursue perfection.

Non-Referential Architecture is a manifesto on a new kind of architecture. Non-Referential Architecture presents a new framework for architecture in a world that is increasingly free of ideologies. We have left behind the values of multicultural postmodernity! Non-Referential Architecture offers unlimited possibilities for the liberated mind.

This small book on small dwellings explores some of the largest questions that can be posed about architecture. What begins where architecture ends? What was before architecture? The ostensible subject of Ann Cline's inquiry is the primitive hut, a one-room structure built of common or rustic materials. Does the proliferation of these structures in recent times represent escapist architectural fantasy, or deeper cultural impulses? As she addresses this question, Cline gracefully weaves together two stories: one of primitive huts in times of cultural transition, and the other of diminutive structures in our own time of architectural transition. From these narrative strands emerges a deeper inquiry: what are the limits of architecture? What ghosts inhabit its edges? What does it mean to dwell outside it? Cline's project began twenty-five years ago, when she set out to translate the Japanese tea ritual into an American idiom. First researching the traditional tea practices of Japan, then building and designing huts in the United States, she attempted to make the "translation" from one culture to another through the use of common American building materials and technology. But her investigation eventually led her to look at many nonarchitectural ideas and sources, for the hut exists both at the beginning of and at the farthest edge of architecture, in the margins between what architecture is and what it is not. In the resulting narrative, she blends autobiography, historical research, and cultural criticism to consider the place that such structures as shacks, teahouses, follies, casitas, and diners--simple, "undesigned" places valued for their timelessness and authenticity--occupy from both a historical and contemporary perspective. This book is an original and imaginative attempt to rethink architecture by studying its boundary conditions and formative structures.