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Here is a story told through three architectural fantasies, separated by over a quarter century from first to last. The arc of this story is caught in a strong tension between architecture’s essential optimism and certain dystopic social ecologies. Its story draws upon a personal narrative in order to give a figure to our collective imagination of the future and our picture of our place in Nature and how these have altered through 30 years of cultural, technological (and personal) change. It wants to know what architecture might be called to do and how it might act when caught in a diastolic cultural pulse – a dark groping for beauty in an evolving landscape of difficult imagined futures.

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This chapter has eight sections 1. General; 2. Fiction Pre-1945; 3. Fiction Post-1945; 4. Drama Pre-1950; 5. Drama Post-1950; 6. British Poetry Pre-1950; 7. British Poetry Post-1950; 8. Modern Irish Poetry. Section 1 is by Shawna Ross; section 2(a) is by Francesca Bratton; Section 2(b) will resume in 2022; section 2(c) is by Georgina Binnie; section 2(d) is by Andrew Keese; section 2(e) is by Joshua Phillips; section 3(a) is by Mark West; section 3(b) is by Samuel Cooper; section 4(a) is by Sophie Stringfellow; section 4(b) is by Gustavo A. Rodríguez Martín; section 5 is by Graham Saunders; section 6(a) is by Noreen Masud; section 6(b) is by Matthew Creasy; section 7 is by Alex Alonso; section 8 is by Jack Quin.

This chapter has eight sections 1. General. 2. Fiction Pre-1945; 3. Fiction Post-1945; 4. Drama Pre-1950; 5. Drama Post-1950; 6. British Poetry 1900–1950; 7 British Poetry Post-1950; 8. Modern Irish Poetry. Section 1 is by Shawna Ross; section 2(a) is by Francesca Bratton; section 2(b) is by Caroline Krzakowski; section 2(c) is by Sophie Corser; section 2(d) is by Andrew Keese; section 2(e) is by Joshua Phillips; section 3(a) is by Mark West; section 3(b) is by Samuel Cooper; section 4(a) is by Rebecca D’Monte; section 4(b) is by Gustavo A. Rodríguez Martín; section 5 is by Graham Saunders; section 6(a) is by Noreen Masud; section 6(b) is by Matthew Creasy; section 7 is by Alex Alonso; section 8 is by Karl O’Hanlon.