In this volume, the latest addition to the award-winning Pamphlet Architecture series, the authors examine common architectural forms (chairs, doors, and walls) and programs (a cinema, a health club, a skyscraper) in order to dissect and reconfigure them. In the process they create ten new projects that draw their power from an oscillation between the recognizable and the surreal. Cleverly undermining the conventions and norms of contemporary architectural design, the authors pose a direct challenge to the seemingly endless search for new styles, arguing instead that the greatest potential for architecture in the twenty-first century rests on an imaginative examination of what we take for granted. Designed by authors, Situation Normal... weaves together text, photographs, and drawings. An introductory essay establishes the theoretical and historical position of the book.

Pamphlet Architecture was begun in 1977 by William Stout and Steven Holl as an independent vehicle for dialogue among architects, and has become a popular venue for publishing the works and thoughts of a younger generation of architects. Small in scale, low in price, but large in impact, these books present and disseminate new and innovative theories. The modest format of the books in the Pamphlet Architecture Series belies the importance and magnitude of the ideas within.

War and Architecture is a timely and moving response by architect Lebbeus Woods to the bombing of Sarajevo. With text in both English and Croatian, accompanied by the author's exquisitely drawn, hauntingly beautiful proposals, the book is both dedicated and addressed to the citizens of this ravaged city. Lebbeus Woods has long been fascinated by the intimate ties between architecture and violence. He identifies the two predominant patterns for rebuilding cities following catastrophic destruction: restoring the city exactly to its previous, "historical" state; or "erasing" the remains of the city to construct a new utopia. These, he argues, are twin forms of denial. Woods draws an analogy to the process of biological and emotional healing, presenting architectural forms that act as "injections," "scabs," "scars," and "new tissue," within the complex organism of a city. "Only by facing the insanity of willful destruction," he argues, "can reason begin to believe again in itself."

Pamphlet Architecture was begun in 1977 by William Stout and Steven Holl as an independent vehicle for dialogue among architects, and has become a popular venue for publishing the works and thoughts of a younger generation of architects. Small in scale, low in price, but large in impact, these books present and disseminate new and innovative theories. The modest format of the books in the Pamphlet Architecture Series belies the importance and magnitude of the ideas within.

What if the constraints and limitations of architecture became the catalyst for design invention? The award-winning young architecture firm Lewis.Tsurumaki.Lewis calls their answers to this question 'opportunistic architecture.' It is a design philosophy that transforms the typically restrictive conditions of architectural practice—small budgets, awkward spaces, strict zoning—into generators of architectural innovation. Lewis.Tsurumaki.Lewis presents a diverse selection of built and speculative projects ranging from small installations to larger institutional buildings. Built projects are accompanied by thought-provoking texts, beautiful drawings and photographs. An appendix distills their design philosophy into five tactics, a readymade code for students and practitioners looking for design ideas for the real world. Lewis.Tsurumaki.Lewis is an architecture partnership established in New York City in 1997 by Marc Tsurumaki, Paul Lewis, and David J. Lewis. Paul Lewis is Assistant Professor at Princeton University. Marc Tsurumaki is Adjunct Professor at Columbia University. David J. Lewis is Associate Professor at Parsons The New School for Design.

Interior Design Masters contains 300 biographical entries of people who have significantly impacted design. They are the people, historical and contemporary, that students and practitioners should know. Coverage starts in the late Renaissance, with a focus on the twentieth and twenty-first centuries. The book has five sections, with the entries alphabetical in each, so it can serve as a history textbook and a reference guide. The seventeeth- and eighteenth-century section covers figures from Thomas Chippendale to Horace Walpole. The nineteenth-century section includes William Morris and Candace Wheeler. The early twentieth-century section presents modernism’s design heroes, including Marcel Breuer, Eileen Gray, and Gilbert Rohde. The post-World War II designers range from Madeleine Castaing to Raymond Loewy. The final contemporary section includes Ron Arad and the Bouroullec brothers. These are the canonical figures who belong to any design history. The book also contains less well-known figures who deserve attention, such as Betty Joel, the British art deco furniture designer; Paul Veysseyre, the Frenchman active in China in the 1930s; and more recently Lanzavecchia-Wai, the Italian-Singaporean duo whose work ranges from health care to helicopters. Global in its coverage, the book is richly illustrated with over 600 black-and-white and color photographs.

This book describes Poet Tech, a seminar offered at the University of Tennessee College of Architecture and design in the fall of 2009. Students were charged with designing poetic machines.