Poetic and political, Strayed Homes invites architects, interior designers, and urbanists to think again about common concepts in architecture – 'private', 'public' and 'home'. Whereas most writing about the public/private focusses on urban space, this book focusses on the domestic – exploring those overlooked, everyday places where private and intimate activities take place in public. With four chapters set in four small, liminal spaces: the launderette, the greasy spoon, the fire escape, and the sleeper train - the book is part architectural history, part cultural history. It follows a series of allusions and impressions, to explore how films, adverts, books and anecdotes shape experiences of everyday architecture. Making a case for the poetic interpretation of space, the book can be used as a sourcebook for architects, designers, and theorists alike – prompting the reader to rethink the emotional state of leaving home, intimacy in public, and lonely dreaming.

A comprehensive biographical directory of some 11,000 British architects who worked between 1834 and 1914 .

In today's Ireland, it's not only the economy that's booming. Dublin-based architects O'Donnell + Tuomey have brought a wealth of exciting buildings to the Emerald Isle for the past seventeen years. Their striking modernist works show their appreciation for Ireland's rich cultural, historic, and civic identity without falling into the trap of typical pitched roofs, gables, slate, and brick. Instead the firm chooses less conventional but more fitting materials that seem to express something not quite visible about their sites. O'Donnell + Tuomey, the first monograph on the firm, presents fifteen of their institutional and residential projects in an arresting collection of color photography, plans, and drawings. The book includes the controversial Irish Pavilion at the Irish Museum of Modern Art, the Ranelagh Multidenominational School, the Irish Pavilion at the 2004 Venice Biennale, and their recent Glucksman Gallery at the University College Cork, which was one of six buildings shortlisted for the 2005 Stirling Prize.

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