This text discusses the basic ideas of complexity and chaos theories and presents many examples of architecture based on these ideas in the work of leading architects - Peter Eisenman, Frank Gehry, Renzo Piano, Charles Correa and Itsuko Hasegawa - along with ecological and organic designs. Charles Jenck's own recent work is used to illustrate concepts in physics and an architecture based on waves and twists. This work both advocates and criticizes as it seeks to define a new direction for the contemporary arts.
This text discusses the basic ideas of complexity and chaos theories and presents many examples of architecture based on these ideas in the work of leading architects - Peter Eisenman, Frank Gehry, Renzo Piano, Charles Correa and Itsuko Hasegawa - along with ecological and organic designs. Charles Jenck's own recent work is used to illustrate concepts in physics and an architecture based on waves and twists. This work both advocates and criticizes as it seeks to define a new direction for the contemporary arts.
"A new type of achitecture has emerged in the last decade : the iconic landmark building, which challenges the traditional architectural monument. In the past, public buildings expressed shared meaning through well-known conventions. Today those conventions are superceded by commercial forces and the quest for instant fame. Public architecture is now required to be an amazing piece of surreal sculpture as well as something that appeals to a diverse audience - at once provocative and practical yet without the context that religion and ideaology once provided. Such contrary demands drive the architect toward a new convention : the enigmatic signifier. This curious sign suggests many meanings without naming of them. The most publized version of the genre, Frank Gehry's New Guggenheim Museum in Bilbao, 1997, became an instant media event that forces other architects to design event buildings routinely. This 'Bilbao effect' has led to a series of landmark buildings by architects such as Norman Foster, Peter Eisenman, Enric Miralles, Zaha Hadid, Daniel Libeskind, Renzo Piano, Will Alsop, and Rem Koolhaas. Some of these buildings are successful creations, while others make us wince." -- book jacket.
This book explores the broad issue of Postmodernism and tells the story of the movement that has changed the face of architecture over the last forty years. In this completely rewritten edition of his seminal work, Charles Jencks brings the history of architecture up to date and shows how demands for a new and complex architecture, aided by computer design, have led to more convivial, sensuous, and articulate buildings around the world.
Today there is a broad trend towards an architecture that could be called ecstatic - partly motivated by pure architectural ideas pushed to their limits and a shift from functional concerns to sensual ones. Ecstatic Architecture is stimulating, holistic and overpowering; its primary contemporary monument is Frank Gehry's New Guggenheim Museum in Bilboa. Ecstatic Architecture has opened up architectural thought and made links with historic building. The term encompasses buildings widely distant in function and time, from cave art to the new cinema centre in Dresden, from explicitly erotic architecture to buildings which have a spiritual role, from conceptual and cybernetic artefacts to pure architecture. It suggests comparisons between the current practice of leading architects such as Hans Hollein, Coop Himmelb(l)au, Nigel Coates and Egyptian, Baroque and Art Nouveau architecture. Essays examining the historic and philosophical implications are complemented by major projects in the genre by Frank Gehry, Will Alsop, Ron Arad, Odile Decq, Eric Owen Moss and Shin Takamatsu. Major rhetorical tropes of Ecstatic Architecture are clarified in two extensive photo essays by Charles Jencks. The surprise is that Ecstatic Architecture links such widely divergent strands and forces us to reconsider architecture in a new key.
Since the mid-1990s, an exciting building project has been underway: new cancer care centers that offer a new approach to architecture and health. Named after Maggie Keswick and cofounded with her husband, the writer and landscape designer Charles Jencks, these centers aim to be at all the major British hospitals that treat cancer. "The Architecture of Hope" showcases these structures where, under one roof, patients can access help with information, benefits, psychological support, and stress-reducing strategies. The book offers a history of the centers, as well as profiles of individual centers throughout the U.K. "The Architecture of Hope" is a testament to these places of hope and healing, available to anybody, whether or not they are afflicted with this terrible disease.
Soon after leaving La Chaux-de-Fonds for Paris, Jeanneret, in association with the Purist painter Amedee Ozenfant, gained fame in the 1920s under the nom de plume Le Corbusier, publishing the journal L'Esprit Nouveau and four seminal Modernist tracts: Towards a New Architecture, The City of Tomorrow, The Decorative Art of Today, and La Peinture Moderne (Modern Painting).
