Lebbeus Woods, Architect brings together drawings from the past 40 years by one of the most influential designers working in architecture. Beyond architects, Woods (1940-2012) has been hailed by designers, filmmakers, writers and artists as a significant voice in recent history; his works resonate across many disciplines for their conceptual depth, imaginative breadth and ethical potency. Woods worked cyclically, returning often to themes of architecture's ability to transform, resist and free the collective and the individual. As an architect whose work lies almost solely in the realm of the proposed and the unbuilt, his contributions to the field opened up new avenues for exploring and inscribing space. The publication centers on transformation as a recurring theme. The organization of the images of works is thematic rather than chronological.

Study of Woods' visionary architecture which is concerned with the cultural regeneration of society.

In the fall of 2007, Lebbeus Woods (1940–2012), long admired for his visionary architecture and mastery of drawing, began a blog. Part forum and part public journal, the eclectic mix of articles, drawings, anecdotes, poetry, interviews, and photographic essays explored topics ranging from architectural theory and criticism to education and politics. Amassing more than three hundred entries by its end in the summer of 2012, it is regarded by many as the most comprehensive and accessible archive of Woods's prodigious creativity. Slow Manifesto: Lebbeus Woods Blog, an edited volume of the blog's centerpiece entries, stands as a fragmentary essay on the nature of architecture that will be dear to architects, students, and thinkers everywhere.

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."

Edited by Tracy Myers. Essays by Tracy Myers, Karsten Harries and Lebbeus Woods. Foreword by Richard Armstrong.

Lebbeus Woods is widely regarded as the most exciting and original architectural visionary today. His body of theoretical work and extraordinary drawings have served as inspiration for architects, artists, and legions of students. Radical Reconstruction, now available in paperback for the first time, contains projects that address the relationships between architecture and war, political revolution/reaction, and natural disasters. These projects define new approaches to the reconstruction of buildings and urban fabric damaged by unpredictable and largely uncontrollable forces of both human and natural origin.

Ambiguous Spaces, the newest installment in the Pamphlet Architecture series and a return to Pamphlet's own progressive roots, features the architectural fictions "The Pregnant Island" and "Nuclear Breeding." These two projects develop alternative urban concepts that address the challenges presented by the specific situations and social dynamics described in controversial locations such as the Brazilian Tucurui Dam, the Three Gorges Dam in China, and former English nuclear test sites. Using narrative techniques, fictional programs, ambiguous spaces, and building devices, Ambiguous Spaces explores people, communities, and even entire cities oppressed by a lack of freedom.

Focusing on the creative and inventive significance of drawing for architecture, this book by one of its greatest proponents, Peter Cook, is an established classic. It exudes Cook's delight and catholic appetite for the architectural. Readers are provided with perceptive insights at every turn. The book features some of the greatest and most intriguing drawings by architects, ranging from Frank Lloyd Wright, Heath-Robinson, Le Corbusier, and Otto Wagner to Frank Gehry, Zaha Hadid, Coop Himmelb(l)au, Arata Isozaki, Eric Owen Moss, Bernard Tschumi, and Lebbeus Woods; as well as key works by Cook and other members of the original Archigram group. For this new edition, Cook provides a substantial new chapter that charts the speed at which the trajectory of drawing is moving. It reflects the increasing sophistication of available software and also the ways in which 'hand drawing' and the 'digital' are being eclipsed by new hybrids—injecting a new momentum to drawing. These 'crossovers' provide a whole new territory as attempts are made to release drawing from the boundaries of a solitary moment, a single-viewing position, or a single referential language. Featuring the likes of Toyo Ito, Perry Culper, Izaskun Chinchilla, Kenny Tsui, Ali Rahim, John Berglund, and Lorene Faure, it leads to fascinating insights into the effect that medium has upon intention and definition of an idea or a place. Is a pencil drawing more attuned to a certain architecture than an ink drawing, or is a particular colour evocative of a certain atmosphere? In a world where a Mayer drawing is creatively contributing something different from a Rhino drawing, there is much to demand of future techniques.

By any measure, Lebbeus Woods is one of the most original architects working today. His body of theoretical work focuses on buildings of crisis, whether marred by major earthquakes, suffering the effects of economic embargo, or damaged by war. Since the destruction of the World Trade Center, his designs have taken on new meaning and significance. In The Storm and the Fall, Woods brings his visions to a new depth, moving them from feverishly rendered drawings to three-dimensional space. The book focuses on two recent Woods installations - one at the Houghton Gallery at New York's Cooper Union, the other at the Fondation Cartier pour l'art contemporain, Paris - that address the role of today's architecture. The Storm critiques the geometric box that rules most building designs and proposes instead a dynamic field of potential energy, represented by a complex array of vectors. The Fall crystallizes a built space in the midst of collapse, witnessing a moment too brief to inhabit - except in imagination. Both pieces are explored in Woods's powerful sketches, renderings, models, and constructions, exposing the mutations that enable them to be. A postscript of his hopeful design for a new World Center relates even more of his ideas, and essays by Anthony Vidler and Paul Virilio offer insights into the significance of the work.