Reconfiguring the architectural space in environments of crisis, whether it be natural, social, political, or financial, Woods stated: “I’m not interested in living in a fantasy world.

After leaving Saarinen's office he worked for a short period for the Champaign, Illinois firm of Richardson, Severns Scheeler & Associates.

The opening included a conversation between Southern California architects Thom Mayne and Neil Denari, who remembered Woods as a mentor and friend.

[9] This was a touring exhibition, presenting during 2014 at the Eli and Edythe Broad Art Museum at Michigan State University and Drawing Center, in New York.

[2] While the purpose of most architects is the construction of their designed work, for Woods, the essence of architecture transcended these limits by seeking something other than an idea expressed as a built form.

Interested in what would happen if the architect was freed from conventional restrictions, he did not intend to generate and construct a design proposal of a specific geometrical form in order to approach an existing architectural problem.

[4] In his visionary world, architecture instrumentalizes the continuous transformation of the human being as its user who becomes its creator, giving it meaning and content through their way of acting in space.

[11] To this end, Woods saw a parallelism between the designer of a building and the creator of a pyramid who follows forms imposed by those who represent, express, dominate, and exploit others’ obedience to regulatory rules.

They generate a flow; a form of indeterminacy; a contradictory plan; a city of unknown origin and destination; a state of continuous transformation.

In his works, terms of a conventional architectural vocabulary, such as the void, wall, volume, and surface, give their place to combinations of heterogeneous and radical interpretations of their content including the "freespace", "multiplicity", and "heterarchy".

[15] In a similar way, Michel Foucault identified transitional spaces that accommodate diversity or else the other pertaining to each inhabitant as opposed to the entire community.

In contrast to the model of organization and development of the modern city, the freespace was for Woods a field of unpredictable forces and continuous transformations of both its user and society which is characterized by morphological fluidity and ideological liberation.

[12] The concept of freespace was addressed to the remaining empty space whose meaning differs from that of the indefinite void whether it is perceptual, natural, political, social or cultural.

Woods' society can only be founded on the intelligence, resourcefulness and awareness-raising initiative of the individual who is called to identify and harmonize with the complexity of their self-sufficiency in space and time.

For him, walls form as a result of the ephemeral culture that develops in the midst of a crisis which manifests itself not in its core, where the most damaging effects are expressed, but in zones on its periphery.

The zones of crisis are shaped by the collision of dissimilar situations, things, and ideologies and constitute the only places where new and vital ideas for the development of a new culture can emerge.

[11] In a society where heterogeneity is established as a form of homogeneity, Woods envisioned the foundation of heterarchy, a societal structure based on dialogue and collaboration.

"[17] In 1988, as part of the Kyong Park exhibition at the Storefront for Art and Architecture in New York City, Woods proposed a solution of an architectural and political nature to address the crisis in the Korean Demilitarized Zone (DMZ), a strip of land that runs through the Korean Peninsula and almost bisects it, forming a neutral zone between the northern and southern part.

To this end, he bisected vertically the Korean peninsula by envisioned a steel-and-aluminum, dome-like structure of gigantic dimensions to make the military equipment accumulated in the area undetectable by satellite or aerial photography.

[11] In 1995, Woods dealt with the urban fabric of Havana, in a period when Cuba was undergoing the consequences of a socio-political revolution that was turning into communism, of which the most important was the trade embargo by the United States.

Whole building blocks pre-fabricated in Yugoslavia were transferred to Havana ready for assembly, triggering the development of a type of architecture similar to the one implemented in eastern Europe.

Woods's work aimed to activate every citizen in Havana by proposing the practice of a radical architecture which he considered an extension of the revolution rather than an adaptation to old habits and conditions.

Here, Woods envisioned to create an artificial breakwater which would protect the urban fabric against the tides caused by tropical storms and hurricanes flooding a large part of the city every three to four years.

In Havana, this center was to be dedicated to the study and analysis of holistic models of both fixed and fluid surfaces representing the paradoxical landscapes of contemporary cities of the era that included the human and natural forces of change.

[11] In 1990s Berlin, in order to reduce the importance of the Wall that divided the city into the Eastern and Western part, Lebbeus Woods envisioned the construction of an underground community along the U-Bahn lines, a project which again remained on paper.

These freespaces would compose a linear network of autonomous habitat and work structures, as he described them whose inhabitants would be in charge of building their underground city.

They were conceived as intertwined landscapes of dialogue where there is unlimited freedom of access to communication systems; these are the "free-zones", which appeared for the first time in Woods' philosophy and vocabulary as "Berlin Freezones".

They play the role of electronic nodes that are connected to computers and other telecommunication devices, thus laying the foundations for creating a dynamic relationship between the physical reality of architecture and the non-material world of technology.