[{"data":1,"prerenderedAt":1855},["ShallowReactive",2],{"sources-jencks.md":3},{"path":4,"title":5,"toc":6,"ast":14},"jencks.md","Sources: Charles Jencks",[7,8,9,10,11,12,13],"Books","Papers and essays","Talks and interviews","Landforms and buildings","About him","Could not verify","Notes for the methodology",{"type":15,"children":16},"root",[17,30,60,95,101,112,117,157,168,237,247,257,294,342,350,408,414,419,467,478,488,538,543,549,554,915,920,1213,1218,1321,1326,1422,1427,1574,1579,1741,1758,1763],{"type":18,"tag":19,"props":20,"children":21},"element","p",{},[22],{"type":18,"tag":23,"props":24,"children":29},"img",{"alt":25,"className":26,"src":28},"Charles Jencks",[27],"portrait","\u002Fsources\u002Ffiles\u002Fphotos\u002Fjencks-2008-cliqmo.jpg",[],{"type":18,"tag":19,"props":31,"children":32},{},[33],{"type":18,"tag":34,"props":35,"children":36},"em",{},[37,40,49,51,58],{"type":38,"value":39},"text","Photo: cliqmo_, 19 Oct 2008, ",{"type":18,"tag":41,"props":42,"children":46},"a",{"href":43,"rel":44},"https:\u002F\u002Fcreativecommons.org\u002Flicenses\u002Fby-nc-sa\u002F2.0\u002F",[45],"nofollow",[47],{"type":38,"value":48},"CC BY-NC-SA 2.0",{"type":38,"value":50},", via ",{"type":18,"tag":41,"props":52,"children":55},{"href":53,"rel":54},"https:\u002F\u002Fwww.flickr.com\u002Fphotos\u002F10553987@N02\u002F4018092184",[45],[56],{"type":38,"value":57},"Flickr",{"type":38,"value":59},". Cropped square. No freely licensed photograph of Jencks is on Wikimedia Commons; this one allows only non-commercial use.",{"type":18,"tag":19,"props":61,"children":62},{},[63,65,70,72,79,81,86,88,93],{"type":38,"value":64},"Charles Jencks (born Baltimore, 21 June 1939; died at home in London, 13 October 2019) was an architectural theorist, historian and landscape designer who lived and worked in Britain from the mid-1960s. He is best known for naming and defining post-modern architecture: buildings that are \"double-coded\", speaking both to architects and to the public. In the 1990s he argued that complexity science, the study of chaos, self-organisation and emergence, called for a new architecture, and he built that argument into landforms and gardens, starting with his own at Portrack in Dumfriesshire. With his wife, Maggie Keswick Jencks, he co-founded Maggie's cancer care centres. Mark Parson's 2007 thesis cites one work by him, ",{"type":18,"tag":34,"props":66,"children":67},{},[68],{"type":38,"value":69},"The Architecture of the Jumping Universe",{"type":38,"value":71}," (1995), twice: for \"the edge of chaos\" and for a cabinet he designed from the mathematics of chaos. The \"Edge of Chaos\" section of ",{"type":18,"tag":73,"props":74,"children":76},"code",{"className":75},[],[77],{"type":38,"value":78},"brand\u002Fdesign_methodology.md",{"type":38,"value":80}," comes from the first of those citations. Its formula is not Jencks's own. In ",{"type":18,"tag":34,"props":82,"children":83},{},[84],{"type":38,"value":85},"Jumping Universe",{"type":38,"value":87}," he was quoting the poet Samuel Taylor Coleridge, whose ",{"type":18,"tag":34,"props":89,"children":90},{},[91],{"type":38,"value":92},"Biographia Literaria",{"type":38,"value":94}," (1817) says the imagination shows itself in \"a more than usual state of emotion with more than usual order\". Jencks carried that line from poetry into complexity science and architecture (see The recipe). This page lists his books, papers, talks and landforms, and where each can legally be read or heard. Citations were checked against the Library of Congress, Harvard Library, the Canadian Centre for Architecture (CCA) library, Crossref, the Jencks Foundation archive, the publisher, or the work itself. Compiled 2026-10-20.",{"type":18,"tag":96,"props":97,"children":99},"h2",{"id":98},"books",[100],{"type":38,"value":7},{"type":18,"tag":102,"props":103,"children":105},"h3",{"id":104},"the-architecture-of-the-jumping-universe-1995",[106,110],{"type":18,"tag":34,"props":107,"children":108},{},[109],{"type":38,"value":69},{"type":38,"value":111}," (1995)",{"type":18,"tag":19,"props":113,"children":114},{},[115],{"type":38,"value":116},"The work the thesis cites.",{"type":18,"tag":118,"props":119,"children":120},"ul",{},[121,152],{"type":18,"tag":122,"props":123,"children":124},"li",{},[125,127,132,134,141,143,150],{"type":38,"value":126},"Jencks, C. (1995). ",{"type":18,"tag":34,"props":128,"children":129},{},[130],{"type":38,"value":131},"The Architecture of the Jumping Universe. A Polemic: How Complexity Science is Changing Architecture and Culture",{"type":38,"value":133},". London: Academy Editions (distributed in the US by National Book Network). 176 pp., ill. (some col.); notes on pp. 170–173. ISBN 1-85490-406-X. LCCN ",{"type":18,"tag":41,"props":135,"children":138},{"href":136,"rel":137},"https:\u002F\u002Flccn.loc.gov\u002F96139700",[45],[139],{"type":38,"value":140},"96139700",{"type":38,"value":142},"; OCLC 32777776 (",{"type":18,"tag":41,"props":144,"children":147},{"href":145,"rel":146},"https:\u002F\u002Fwww.cca.qc.ca\u002Fen\u002Fsearch\u002Fdetails\u002Flibrary\u002Fpublication\u002F32777776",[45],[148],{"type":38,"value":149},"CCA record",{"type":38,"value":151},").",{"type":18,"tag":122,"props":153,"children":154},{},[155],{"type":38,"value":156},"Revised edition (1997). London: Academy Editions. 192 pp. ISBN 1-85490-486-8. OCLC 37245900 (Harvard Library record, which lists the contents). Chapters I–XXVI keep their 1995 page numbers. A new introduction, \"The Jumping Universe\" (p. 6), replaces the 1995 introduction, \"The Trap and the Butterfly\" (p. 7). A Postscript, \"Architecture Becomes Land-Form\" (pp. 170–185), adds Gehry's Guggenheim Bilbao, Eisenman's Aronoff Center and the work of Enric Miralles.",{"type":18,"tag":19,"props":158,"children":159},{},[160,166],{"type":18,"tag":161,"props":162,"children":163},"strong",{},[164],{"type":38,"value":165},"What it argues.",{"type":38,"value":167}," The book is a polemic in three parts: Simplicity and Complexity; In Which Language Shall We Build?; and Cosmogenic Architecture.",{"type":18,"tag":118,"props":169,"children":170},{},[171,181,191,201,211],{"type":18,"tag":122,"props":172,"children":173},{},[174,179],{"type":18,"tag":34,"props":175,"children":176},{},[177],{"type":38,"value":178},"A new world view.",{"type":38,"value":180}," Modern science and modern architecture shared a mechanistic picture of the world: Newtonian, deterministic, reductive and materialist. The sciences of complexity have replaced it. Nonlinear dynamics, chaos, fractals, self-organisation, emergence and punctuated change describe a universe that does not run down like a machine but \"jumps\" to new levels of organisation. Jencks calls this creative unfolding \"cosmogenesis\".",{"type":18,"tag":122,"props":182,"children":183},{},[184,189],{"type":18,"tag":34,"props":185,"children":186},{},[187],{"type":38,"value":188},"Complexity as the heart of post-modernism.",{"type":38,"value":190}," Chapter IV, \"Complexity Science: The Heart of Post-Modernism\", ties the new science to the post-modern architecture he had championed since the 1970s. Both reject the single, simplified order of modernism.",{"type":18,"tag":122,"props":192,"children":193},{},[194,199],{"type":18,"tag":34,"props":195,"children":196},{},[197],{"type":38,"value":198},"A language for building.",{"type":38,"value":200}," Part Two names the formal vocabulary that follows from the science: fractals and strange attractors (ch. VIII), nonlinearity (IX), waves and twists (X), folding (XI), phase transitions (XII), organisational depth (XIII) and superposition (XIV). Then come \"Edge of Chaos and Purpose in the Universe\" (XV, p. 85), ecology and Gaia (XVI–XVIII), and the shift from high-tech to \"organi-tech\" (XIX). The buildings he discusses include work by Peter Eisenman (Rebstock), Frank Gehry (Vitra), Daniel Libeskind (the Jewish Museum, Berlin), Nicholas Grimshaw (Waterloo International) and Zaha Hadid (the Cardiff Bay Opera House project).",{"type":18,"tag":122,"props":202,"children":203},{},[204,209],{"type":18,"tag":34,"props":205,"children":206},{},[207],{"type":38,"value":208},"Cosmogenic architecture.",{"type":38,"value":210}," Part Three argues that architecture should represent this creative universe, and ends with his criteria for architecture (ch. XXVI).",{"type":18,"tag":122,"props":212,"children":213},{},[214,219,221,226,228,235],{"type":18,"tag":34,"props":215,"children":216},{},[217],{"type":38,"value":218},"Sources in the science.",{"type":38,"value":220}," He takes the \"edge of chaos\" from the complexity researchers Chris Langton, Norman Packard and Stuart Kauffman (pp. 60–61, 85). A key scientific source is Langton, C. G. (1990), \"Computation at the edge of chaos: Phase transitions and emergent computation\", ",{"type":18,"tag":34,"props":222,"children":223},{},[224],{"type":38,"value":225},"Physica D",{"type":38,"value":227}," 42, 12–37, doi:",{"type":18,"tag":41,"props":229,"children":232},{"href":230,"rel":231},"https:\u002F\u002Fdoi.org\u002F10.1016\u002F0167-2789(90)90064-V",[45],[233],{"type":38,"value":234},"10.1016\u002F0167-2789(90)90064-V",{"type":38,"value":236},".",{"type":18,"tag":19,"props":238,"children":239},{},[240,245],{"type":18,"tag":161,"props":241,"children":242},{},[243],{"type":38,"value":244},"The Rabbit Cabinet.",{"type":38,"value":246}," The thesis's furniture example is in chapter IX, \"Nonlinearity\" (pp. 46–48). The caption on p. 46 reads \"Charles Jencks, Organization Emerging in Chaos, Scotland, 1992. The Rabbit Cabinet\". Its ornament traces the period-doubling route to chaos generated by the Verhulst equation for population growth, X(n+1) = BX(1−X), which Jencks introduces with rabbit populations as the example (p. 47). Page 48 follows the bifurcations across the cabinet's surface.",{"type":18,"tag":19,"props":248,"children":249},{},[250,255],{"type":18,"tag":161,"props":251,"children":252},{},[253],{"type":38,"value":254},"Where to read it.",{"type":38,"value":256}," Out of print; Academy Editions passed to Wiley, and no current listing was found.",{"type":18,"tag":118,"props":258,"children":259},{},[260,272,284,289],{"type":18,"tag":122,"props":261,"children":262},{},[263,265,271],{"type":38,"value":264},"Google Books has snippet view only, for the 1995 edition (e.g. ",{"type":18,"tag":41,"props":266,"children":269},{"href":267,"rel":268},"https:\u002F\u002Fbooks.google.com\u002Fbooks?id=mghQAAAAMAAJ",[45],[270],{"type":38,"value":267},{"type":38,"value":151},{"type":18,"tag":122,"props":273,"children":274},{},[275,277,283],{"type":38,"value":276},"HathiTrust has it search-only: ",{"type":18,"tag":41,"props":278,"children":281},{"href":279,"rel":280},"https:\u002F\u002Fcatalog.hathitrust.org\u002FRecord\u002F002999742",[45],[282],{"type":38,"value":279},{"type":38,"value":236},{"type":18,"tag":122,"props":285,"children":286},{},[287],{"type":38,"value":288},"The CCA, Harvard and Library of Congress copies are listed above.",{"type":18,"tag":122,"props":290,"children":291},{},[292],{"type":38,"value":293},"Internet Archive lending copies are not listed as sources.",{"type":18,"tag":19,"props":295,"children":296},{},[297,302,304,309,311,318,320,325,327,332,334,341],{"type":18,"tag":161,"props":298,"children":299},{},[300],{"type":38,"value":301},"Translations and excerpts.",{"type":38,"value":303}," Japanese: ",{"type":18,"tag":34,"props":305,"children":306},{},[307],{"type":38,"value":308},"Fukuzatsukei no kenchiku gengo",{"type":38,"value":310}," (複雑系の建築言語), translated by Kudō Kunio with a preface by Kurokawa Kishō, from the 1997 edition. Tokyo: Shōkokusha, 2000. 207 pp. ISBN 4-395-05091-3. LCCN ",{"type":18,"tag":41,"props":312,"children":315},{"href":313,"rel":314},"https:\u002F\u002Flccn.loc.gov\u002F2022402893",[45],[316],{"type":38,"value":317},"2022402893",{"type":38,"value":319},". The excerpt \"Cosmogenic Architecture\" appeared in ",{"type":18,"tag":34,"props":321,"children":322},{},[323],{"type":38,"value":324},"Architectural Design",{"type":38,"value":326}," 65(9\u002F10), 1995. A German version, \"Die Architektur des springenden Universums\", is listed in the Jencks archive for ",{"type":18,"tag":34,"props":328,"children":329},{},[330],{"type":38,"value":331},"Arch+",{"type":38,"value":333},", April 1998 (",{"type":18,"tag":41,"props":335,"children":338},{"href":336,"rel":337},"https:\u002F\u002Fjencksfoundation.maxarchiveservices.co.uk\u002Findex.php\u002Fthe-architecture-of-the-jumping-universe-a-polemic-how-complexity-science-is-changing-architecture-and-culture",[45],[339],{"type":38,"value":340},"archive record",{"type":38,"value":151},{"type":18,"tag":19,"props":343,"children":344},{},[345],{"type":18,"tag":161,"props":346,"children":347},{},[348],{"type":38,"value":349},"Reviews.",{"type":18,"tag":118,"props":351,"children":352},{},[353,374],{"type":18,"tag":122,"props":354,"children":355},{},[356,358,363,365,372],{"type":38,"value":357},"Sukumar, C. V. (1996). \"A new paradigm for science and architecture\". ",{"type":18,"tag":34,"props":359,"children":360},{},[361],{"type":38,"value":362},"City",{"type":38,"value":364}," 2(1–2), 181–183. doi:",{"type":18,"tag":41,"props":366,"children":369},{"href":367,"rel":368},"https:\u002F\u002Fdoi.org\u002F10.1080\u002F14703629.1996.12462270",[45],[370],{"type":38,"value":371},"10.1080\u002F14703629.1996.12462270",{"type":38,"value":373},". A review of the 1995 edition.",{"type":18,"tag":122,"props":375,"children":376},{},[377,379,384,386,392,394,399,401,407],{"type":38,"value":378},"Powers, A. (1995). \"Chaos in the cosmos\". ",{"type":18,"tag":34,"props":380,"children":381},{},[382],{"type":38,"value":383},"The Spectator",{"type":38,"value":385},", 17 June 1995, p. 51: ",{"type":18,"tag":41,"props":387,"children":390},{"href":388,"rel":389},"https:\u002F\u002Farchive.spectator.co.uk\u002Farticle\u002F17th-june-1995\u002F51\u002Farchitecture",[45],[391],{"type":38,"value":388},{"type":38,"value":393},". A critical review. Powers finds the building examples slight. As a deeper treatment of order in architecture, he points to Christopher Alexander's then-unpublished ",{"type":18,"tag":34,"props":395,"children":396},{},[397],{"type":38,"value":398},"The Nature of Order",{"type":38,"value":400}," (see the ",{"type":18,"tag":41,"props":402,"children":404},{"href":403},"\u002Fsources\u002Falexander",[405],{"type":38,"value":406},"Alexander page",{"type":38,"value":151},{"type":18,"tag":102,"props":409,"children":411},{"id":410},"the-recipe-more-than-usual-emotion-more-than-usual-order",[412],{"type":38,"value":413},"The recipe: more than usual emotion, more than usual order",{"type":18,"tag":19,"props":415,"children":416},{},[417],{"type":38,"value":418},"The idea the methodology calls \"the edge of chaos\" has three layers, and its words are Coleridge's. Jencks was quoting him; the thesis paraphrased Jencks. Each layer is a little different from the next.",{"type":18,"tag":420,"props":421,"children":422},"ol",{},[423,447,457],{"type":18,"tag":122,"props":424,"children":425},{},[426,431,433,437,439,446],{"type":18,"tag":161,"props":427,"children":428},{},[429],{"type":38,"value":430},"Coleridge (1817).",{"type":38,"value":432}," In ",{"type":18,"tag":34,"props":434,"children":435},{},[436],{"type":38,"value":92},{"type":38,"value":438},", chapter XIV, Samuel Taylor Coleridge describes the imagination of \"the poet, described in ideal perfection\". It shows itself in balancing opposite qualities: sameness with difference, novelty with the familiar, and \"a more than usual state of emotion with more than usual order\". Full text: ",{"type":18,"tag":41,"props":440,"children":443},{"href":441,"rel":442},"https:\u002F\u002Fwww.gutenberg.org\u002Febooks\u002F6081",[45],[444],{"type":38,"value":445},"Project Gutenberg #6081",{"type":38,"value":236},{"type":18,"tag":122,"props":448,"children":449},{},[450,455],{"type":18,"tag":161,"props":451,"children":452},{},[453],{"type":38,"value":454},"Jencks (1995).",{"type":38,"value":456}," Chapter VII, \"The Ideal Poet\" (p. 39), has a title that echoes Coleridge's phrase. Jencks quotes Coleridge's line and joins it to a law of complexity science, \"more is different\": a system pushed far from equilibrium reorganises itself at a higher level. When creative powers are \"more than usual\", in his phrase, a system is \"pushed up the organizational hill\" (p. 39). On p. 40 he restates Coleridge's balance of passion and reason, on the same page where he discusses the edge of chaos and phase transitions. The same phrasing recurs on p. 156 and in the 1997 edition at the same pages. So in Jencks the recipe for creativity is Coleridge's: more emotion than usual held in more order than usual, at the point where a system is about to jump to a new level. Jencks's key word, after Coleridge, is emotion.",{"type":18,"tag":122,"props":458,"children":459},{},[460,465],{"type":18,"tag":161,"props":461,"children":462},{},[463],{"type":38,"value":464},"The thesis (2007).",{"type":38,"value":466}," Parson writes that the edge of chaos is \"where a more than usual level of imagination meets a more than usual degree of order\", and marks it as a paraphrase of Jencks (1995). Order stops imagination from destroying the project's purpose. Imagination makes leaps of insight that rigid order would block. The thesis puts \"imagination\" where Coleridge and Jencks put \"emotion\". Coleridge's paragraph is itself about the imagination, so the change keeps his meaning.",{"type":18,"tag":19,"props":468,"children":469},{},[470,472,476],{"type":38,"value":471},"The version \"an inordinate amount of chaos coupled with an inordinate amount of order\" was not found. Neither \"inordinate\" nor \"recipe\" occurs in either edition of ",{"type":18,"tag":34,"props":473,"children":474},{},[475],{"type":38,"value":85},{"type":38,"value":477},", and the phrase was not found anywhere else in Jencks's work or on the web. It reads as a later retelling of the Coleridge line.",{"type":18,"tag":19,"props":479,"children":480},{},[481,486],{"type":18,"tag":161,"props":482,"children":483},{},[484],{"type":38,"value":485},"Coleridge in Jencks's work.",{"type":38,"value":487}," The connection runs through more than one passage:",{"type":18,"tag":118,"props":489,"children":490},{},[491,508,513,518,528],{"type":18,"tag":122,"props":492,"children":493},{},[494,496,500,502,506],{"type":38,"value":495},"The title of chapter VII of ",{"type":18,"tag":34,"props":497,"children":498},{},[499],{"type":38,"value":85},{"type":38,"value":501},", \"The Ideal Poet\", echoes \"the poet, described in ideal perfection\", from the same paragraph of ",{"type":18,"tag":34,"props":503,"children":504},{},[505],{"type":38,"value":92},{"type":38,"value":507}," as the quotation.",{"type":18,"tag":122,"props":509,"children":510},{},[511],{"type":38,"value":512},"The quotation itself is on p. 39. Coleridge's balance of passion and reason comes back on p. 40, next to the edge of chaos and phase transitions.",{"type":18,"tag":122,"props":514,"children":515},{},[516],{"type":38,"value":517},"Search-inside also finds the phrasing on p. 156 of both editions. That passage was not read.",{"type":18,"tag":122,"props":519,"children":520},{},[521,526],{"type":18,"tag":34,"props":522,"children":523},{},[524],{"type":38,"value":525},"Theories and Manifestoes of Contemporary Architecture",{"type":38,"value":527}," (1997), edited with Karl Kropf, cites Coleridge on p. 45, near \"more than usual\" on pp. 44 and 62. Those pages were not read.",{"type":18,"tag":122,"props":529,"children":530},{},[531,536],{"type":18,"tag":34,"props":532,"children":533},{},[534],{"type":38,"value":535},"The Iconic Building",{"type":38,"value":537}," (2005) also matches \"more than usual\" (p. 123). Whether Coleridge is named there was not checked.",{"type":18,"tag":19,"props":539,"children":540},{},[541],{"type":38,"value":542},"Coleridge was writing about poetry: the imagination that reconciles opposite qualities in a poem. Jencks's move was to read that balance as a general law of creativity, the same one complexity science finds in systems poised between order and chaos.",{"type":18,"tag":102,"props":544,"children":546},{"id":545},"other-books",[547],{"type":38,"value":548},"Other books",{"type":18,"tag":19,"props":550,"children":551},{},[552],{"type":38,"value":553},"In date order. All are in copyright, and none has a legal open full text unless noted.",{"type":18,"tag":118,"props":555,"children":556},{},[557,578,606,635,656,677,696,717,738,766,787,814,835,855,867,879,891],{"type":18,"tag":122,"props":558,"children":559},{},[560,562,567,569,576],{"type":38,"value":561},"Jencks, C., & Baird, G. (Eds.) (1969). ",{"type":18,"tag":34,"props":563,"children":564},{},[565],{"type":38,"value":566},"Meaning in Architecture",{"type":38,"value":568},". London: Barrie & Rockliff \u002F Cresset Press. 288 pp. ISBN 0-214-66797-9. LCCN ",{"type":18,"tag":41,"props":570,"children":573},{"href":571,"rel":572},"https:\u002F\u002Flccn.loc.gov\u002F76464177",[45],[574],{"type":38,"value":575},"76464177",{"type":38,"value":577},". US edition New York: Braziller, 1970. Essays on how buildings carry meaning, read through semiology, the theory of signs.",{"type":18,"tag":122,"props":579,"children":580},{},[581,583,588,590,597,599,604],{"type":38,"value":582},"Jencks, C. (1971). ",{"type":18,"tag":34,"props":584,"children":585},{},[586],{"type":38,"value":587},"Architecture 2000: Predictions and Methods",{"type":38,"value":589},". London: Studio Vista. 128 pp. ISBN 0-289-79844-2. LCCN ",{"type":18,"tag":41,"props":591,"children":594},{"href":592,"rel":593},"https:\u002F\u002Flccn.loc.gov\u002F73024881",[45],[595],{"type":38,"value":596},"73024881",{"type":38,"value":598},". It forecasts how architectural movements will develop to 2000 and sets out his methods of prediction. Revised as ",{"type":18,"tag":34,"props":600,"children":601},{},[602],{"type":38,"value":603},"Architecture 2000 and Beyond",{"type":38,"value":605}," (Wiley-Academy, 2000).",{"type":18,"tag":122,"props":607,"children":608},{},[609,611,616,618,625,627,634],{"type":38,"value":610},"Jencks, C., & Silver, N. (1972). ",{"type":18,"tag":34,"props":612,"children":613},{},[614],{"type":38,"value":615},"Adhocism: The Case for Improvisation",{"type":38,"value":617},". New York: Doubleday; London: Secker & Warburg. 216 pp. ISBN 0-385-01617-4. LCCN ",{"type":18,"tag":41,"props":619,"children":622},{"href":620,"rel":621},"https:\u002F\u002Flccn.loc.gov\u002F72076174",[45],[623],{"type":38,"value":624},"72076174",{"type":38,"value":626},". Expanded edition, MIT Press, 2013, ISBN 978-0-262-51844-4. It argues for improvising, building quickly from existing parts and systems to meet a need, in design and in daily life. An excerpt, \"An Adhocist Manifesto\", is open on the ",{"type":18,"tag":41,"props":628,"children":631},{"href":629,"rel":630},"https:\u002F\u002Fjencksfoundation.org\u002Fexplore\u002Ftext\u002Fan-adhocist-manifesto",[45],[632],{"type":38,"value":633},"Jencks Foundation site",{"type":38,"value":236},{"type":18,"tag":122,"props":636,"children":637},{},[638,640,645,647,654],{"type":38,"value":639},"Jencks, C. (1973). ",{"type":18,"tag":34,"props":641,"children":642},{},[643],{"type":38,"value":644},"Modern Movements in Architecture",{"type":38,"value":646},". Garden City, NY: Anchor Press; Harmondsworth: Penguin. 432 pp. ISBN 0-385-02555-6 (Anchor), 0-14-021534-4 (Penguin). LCCN ",{"type":18,"tag":41,"props":648,"children":651},{"href":649,"rel":650},"https:\u002F\u002Flccn.loc.gov\u002F72086674",[45],[652],{"type":38,"value":653},"72086674",{"type":38,"value":655},". 2nd ed. 1985. Developed from his PhD thesis. It treats modern architecture as several competing traditions, not one unified Modern Movement.",{"type":18,"tag":122,"props":657,"children":658},{},[659,661,666,668,675],{"type":38,"value":660},"Jencks, C. (1977). ",{"type":18,"tag":34,"props":662,"children":663},{},[664],{"type":38,"value":665},"The Language of Post-Modern Architecture",{"type":38,"value":667},". London: Academy Editions; New York: Rizzoli. 104 pp. ISBN 0-85670-320-6. LCCN ",{"type":18,"tag":41,"props":669,"children":672},{"href":670,"rel":671},"https:\u002F\u002Flccn.loc.gov\u002F78306900",[45],[673],{"type":38,"value":674},"78306900",{"type":38,"value":676},". Editions to the 6th (Rizzoli, 1991, 204 pp.). It reads architecture as a language. Modernism spoke in one narrow voice. Post-modern buildings should be double-coded, using modern techniques and familiar, often historical, forms, so that they speak to architects and the public at once. It opens with his claim that modern architecture died in St Louis at 3.32 pm on 15 July 1972, when blocks of the Pruitt–Igoe housing estate were dynamited (p. 9). The first block was in fact demolished on 16 March 1972, and 15 July was a later demolition.",{"type":18,"tag":122,"props":678,"children":679},{},[680,682,687,689,694],{"type":38,"value":681},"Jencks, C. (1986). ",{"type":18,"tag":34,"props":683,"children":684},{},[685],{"type":38,"value":686},"What is Post-Modernism?",{"type":38,"value":688}," London: Academy Editions; New York: St. Martin's. 48 pp. ISBN 0-85670-880-1. A short polemic that defines post-modernism across the arts as double coding and separates it from late modernism. Its 5th edition became ",{"type":18,"tag":34,"props":690,"children":691},{},[692],{"type":38,"value":693},"Critical Modernism",{"type":38,"value":695}," (2007).",{"type":18,"tag":122,"props":697,"children":698},{},[699,701,706,708,715],{"type":38,"value":700},"Jencks, C. (1987). ",{"type":18,"tag":34,"props":702,"children":703},{},[704],{"type":38,"value":705},"Post-Modernism: The New Classicism in Art and Architecture",{"type":38,"value":707},". New York: Rizzoli. 360 pp. ISBN 0-8478-0835-1. LCCN ",{"type":18,"tag":41,"props":709,"children":712},{"href":710,"rel":711},"https:\u002F\u002Flccn.loc.gov\u002F87009481",[45],[713],{"type":38,"value":714},"87009481",{"type":38,"value":716},". A survey of the 1980s return to classical forms in painting, sculpture and building.",{"type":18,"tag":122,"props":718,"children":719},{},[720,722,727,729,736],{"type":38,"value":721},"Jencks, C. (1990). ",{"type":18,"tag":34,"props":723,"children":724},{},[725],{"type":38,"value":726},"The New Moderns: From Late to Neo-Modernism",{"type":38,"value":728},". New York: Rizzoli. 300 pp. ISBN 0-8478-1212-X. LCCN ",{"type":18,"tag":41,"props":730,"children":733},{"href":731,"rel":732},"https:\u002F\u002Flccn.loc.gov\u002F89064021",[45],[734],{"type":38,"value":735},"89064021",{"type":38,"value":737},". It maps late-modern and neo-modern architecture, including deconstruction, as a line separate from post-modernism.",{"type":18,"tag":122,"props":739,"children":740},{},[741,743,747,749,755,757,764],{"type":38,"value":742},"Jencks, C., & Kropf, K. (Eds.) (1997). ",{"type":18,"tag":34,"props":744,"children":745},{},[746],{"type":38,"value":525},{"type":38,"value":748},". Chichester: Academy Editions. 312 pp. ISBN 0-471-97687-3 (",{"type":18,"tag":41,"props":750,"children":753},{"href":751,"rel":752},"https:\u002F\u002Fwww.cca.qc.ca\u002Fen\u002Fsearch\u002Fdetails\u002Flibrary\u002Fpublication\u002F37990590",[45],[754],{"type":38,"value":149},{"type":38,"value":756},"). 2nd ed., Wiley-Academy, 2006, LCCN ",{"type":18,"tag":41,"props":758,"children":761},{"href":759,"rel":760},"https:\u002F\u002Flccn.loc.gov\u002F2007270929",[45],[762],{"type":38,"value":763},"2007270929",{"type":38,"value":765},". An anthology of short texts grouped by movement, ending with the \"complexity paradigm\". Search-inside finds Coleridge cited here too (p. 45).",{"type":18,"tag":122,"props":767,"children":768},{},[769,771,776,778,785],{"type":38,"value":770},"Jencks, C. (1999). ",{"type":18,"tag":34,"props":772,"children":773},{},[774],{"type":38,"value":775},"Ecstatic Architecture: The Surprising Link",{"type":38,"value":777},". Academy Editions. 178 pp. ISBN 0-471-98398-5. LCCN ",{"type":18,"tag":41,"props":779,"children":782},{"href":780,"rel":781},"https:\u002F\u002Flccn.loc.gov\u002F99475010",[45],[783],{"type":38,"value":784},"99475010",{"type":38,"value":786},". Built around a Royal Academy forum on the expressive, emotionally charged architecture of the late 1990s.",{"type":18,"tag":122,"props":788,"children":789},{},[790,792,797,799,806,808,812],{"type":38,"value":791},"Jencks, C. (2002). ",{"type":18,"tag":34,"props":793,"children":794},{},[795],{"type":38,"value":796},"The New Paradigm in Architecture: The Language of Post-Modernism",{"type":38,"value":798},". New Haven: Yale University Press. 279 pp. ISBN 0-300-09512-0. LCCN ",{"type":18,"tag":41,"props":800,"children":803},{"href":801,"rel":802},"https:\u002F\u002Flccn.loc.gov\u002F2002106785",[45],[804],{"type":38,"value":805},"2002106785",{"type":38,"value":807},". The 7th edition of ",{"type":18,"tag":34,"props":809,"children":810},{},[811],{"type":38,"value":665},{"type":38,"value":813},", revised under a new title.",{"type":18,"tag":122,"props":815,"children":816},{},[817,819,824,826,833],{"type":38,"value":818},"Jencks, C. (2003). ",{"type":18,"tag":34,"props":820,"children":821},{},[822],{"type":38,"value":823},"The Garden of Cosmic Speculation",{"type":38,"value":825},". London: Frances Lincoln. 256 pp. ISBN 0-7112-2216-9. LCCN ",{"type":18,"tag":41,"props":827,"children":830},{"href":828,"rel":829},"https:\u002F\u002Flccn.loc.gov\u002F2004533045",[45],[831],{"type":38,"value":832},"2004533045",{"type":38,"value":834},". His own guide to the garden at Portrack, explaining how its landforms, terraces and objects represent ideas from modern physics, cosmology and biology.",{"type":18,"tag":122,"props":836,"children":837},{},[838,840,844,846,853],{"type":38,"value":839},"Jencks, C. (2005). ",{"type":18,"tag":34,"props":841,"children":842},{},[843],{"type":38,"value":535},{"type":38,"value":845},". New York: Rizzoli. 224 pp. ISBN 0-8478-2756-9. LCCN ",{"type":18,"tag":41,"props":847,"children":850},{"href":848,"rel":849},"https:\u002F\u002Flccn.loc.gov\u002F2005922828",[45],[851],{"type":38,"value":852},"2005922828",{"type":38,"value":854},". On the rush for \"icon\" buildings after Bilbao. The good ones carry rich, open meanings; the bad ones are empty branding.",{"type":18,"tag":122,"props":856,"children":857},{},[858,860,865],{"type":38,"value":859},"Jencks, C. (2007). ",{"type":18,"tag":34,"props":861,"children":862},{},[863],{"type":38,"value":864},"Critical Modernism: Where is Post-Modernism Going?",{"type":38,"value":866}," Chichester: Wiley-Academy. 240 pp. ISBN 0-470-03010-0. It argues that post-modernism is best understood as a self-critical strand within modernism.",{"type":18,"tag":122,"props":868,"children":869},{},[870,872,877],{"type":38,"value":871},"Jencks, C., & Heathcote, E. (2010). ",{"type":18,"tag":34,"props":873,"children":874},{},[875],{"type":38,"value":876},"The Architecture of Hope: Maggie's Cancer Caring Centres",{"type":38,"value":878},". London: Frances Lincoln. 223 pp. ISBN 978-0-7112-2597-8. New ed. 2015. It documents the Maggie's centres and argues that architecture can support the wellbeing of people living with cancer.",{"type":18,"tag":122,"props":880,"children":881},{},[882,884,889],{"type":38,"value":883},"Jencks, C. (2011). ",{"type":18,"tag":34,"props":885,"children":886},{},[887],{"type":38,"value":888},"The Story of Post-Modernism: Five Decades of the Ironic, Iconic and Critical in Architecture",{"type":38,"value":890},". Chichester: Wiley. 272 pp. ISBN 978-0-470-68896-0. His history of post-modern architecture from the 1960s.",{"type":18,"tag":122,"props":892,"children":893},{},[894,895,900,902,908,910,914],{"type":38,"value":883},{"type":18,"tag":34,"props":896,"children":897},{},[898],{"type":38,"value":899},"The Universe in the Landscape: Landforms",{"type":38,"value":901},". London: Frances Lincoln. ISBN 978-0-7112-3234-1 (",{"type":18,"tag":41,"props":903,"children":906},{"href":904,"rel":905},"https:\u002F\u002Fwww.cca.qc.ca\u002Fen\u002Fsearch\u002Fdetails\u002Flibrary\u002Fpublication\u002F670481653",[45],[907],{"type":38,"value":149},{"type":38,"value":909},"). His landform projects, including Northumberlandia, as a companion to ",{"type":18,"tag":34,"props":911,"children":912},{},[913],{"type":38,"value":823},{"type":38,"value":236},{"type":18,"tag":96,"props":916,"children":918},{"id":917},"papers-and-essays",[919],{"type":38,"value":8},{"type":18,"tag":921,"props":922,"children":923},"table",{},[924,948],{"type":18,"tag":925,"props":926,"children":927},"thead",{},[928],{"type":18,"tag":929,"props":930,"children":931},"tr",{},[932,938,943],{"type":18,"tag":933,"props":934,"children":935},"th",{},[936],{"type":38,"value":937},"Work",{"type":18,"tag":933,"props":939,"children":940},{},[941],{"type":38,"value":942},"Full text",{"type":18,"tag":933,"props":944,"children":945},{},[946],{"type":38,"value":947},"Local copy",{"type":18,"tag":949,"props":950,"children":951},"tbody",{},[952,993,1026,1077,1114,1144,1183],{"type":18,"tag":929,"props":953,"children":954},{},[955,983,988],{"type":18,"tag":956,"props":957,"children":958},"td",{},[959,961,966,968,973,975,982],{"type":38,"value":960},"Jencks, C. (1975). \"The Rise of Post-Modern Architecture\". ",{"type":18,"tag":34,"props":962,"children":963},{},[964],{"type":38,"value":965},"Architectural Association Quarterly",{"type":38,"value":967}," 7(4). Reprinted in ",{"type":18,"tag":34,"props":969,"children":970},{},[971],{"type":38,"value":972},"Anthologie zum Städtebau",{"type":38,"value":974}," III (Gebr. Mann, 2023), 367–378, doi:",{"type":18,"tag":41,"props":976,"children":979},{"href":977,"rel":978},"https:\u002F\u002Fdoi.org\u002F10.5771\u002F9783786175247-367",[45],[980],{"type":38,"value":981},"10.5771\u002F9783786175247-367",{"type":38,"value":236},{"type":18,"tag":956,"props":984,"children":985},{},[986],{"type":38,"value":987},"No legal open copy found",{"type":18,"tag":956,"props":989,"children":990},{},[991],{"type":38,"value":992},"none",{"type":18,"tag":929,"props":994,"children":995},{},[996,1017,1022],{"type":18,"tag":956,"props":997,"children":998},{},[999,1001,1006,1008,1015],{"type":38,"value":1000},"Jencks, C. (1987). \"Postmodern and Late Modern: The Essential Definitions\". ",{"type":18,"tag":34,"props":1002,"children":1003},{},[1004],{"type":38,"value":1005},"Chicago Review",{"type":38,"value":1007}," 35(4). doi:",{"type":18,"tag":41,"props":1009,"children":1012},{"href":1010,"rel":1011},"https:\u002F\u002Fdoi.org\u002F10.2307\u002F25305377",[45],[1013],{"type":38,"value":1014},"10.2307\u002F25305377",{"type":38,"value":1016},". Defines the two terms against each other.",{"type":18,"tag":956,"props":1018,"children":1019},{},[1020],{"type":38,"value":1021},"JSTOR (paywalled)",{"type":18,"tag":956,"props":1023,"children":1024},{},[1025],{"type":38,"value":992},{"type":18,"tag":929,"props":1027,"children":1028},{},[1029,1068,1073],{"type":18,"tag":956,"props":1030,"children":1031},{},[1032,1034,1039,1041,1045,1047,1051,1053,1058,1060,1067],{"type":38,"value":1033},"Jencks, C. (Ed.) (1997). ",{"type":18,"tag":34,"props":1035,"children":1036},{},[1037],{"type":38,"value":1038},"New Science = New Architecture?",{"type":38,"value":1040}," ",{"type":18,"tag":34,"props":1042,"children":1043},{},[1044],{"type":38,"value":324},{"type":38,"value":1046}," 67(9\u002F10), AD Profile 129. His essays \"Nonlinear Architecture: New Science = New Architecture?\" and \"Landform Architecture: Emergent in the Nineties\" carry the ",{"type":18,"tag":34,"props":1048,"children":1049},{},[1050],{"type":38,"value":85},{"type":38,"value":1052}," argument into the buildings of the late 1990s, among them Gehry's Bilbao. Reprinted in Carpo, M. (Ed.), ",{"type":18,"tag":34,"props":1054,"children":1055},{},[1056],{"type":38,"value":1057},"The Digital Turn in Architecture 1992–2012",{"type":38,"value":1059}," (Wiley, 2013), 80–107, doi:",{"type":18,"tag":41,"props":1061,"children":1064},{"href":1062,"rel":1063},"https:\u002F\u002Fdoi.org\u002F10.1002\u002F9781118795811.ch6",[45],[1065],{"type":38,"value":1066},"10.1002\u002F9781118795811.ch6",{"type":38,"value":236},{"type":18,"tag":956,"props":1069,"children":1070},{},[1071],{"type":38,"value":1072},"Paywalled",{"type":18,"tag":956,"props":1074,"children":1075},{},[1076],{"type":38,"value":992},{"type":18,"tag":929,"props":1078,"children":1079},{},[1080,1106,1110],{"type":18,"tag":956,"props":1081,"children":1082},{},[1083,1085,1089,1091,1098,1100,1104],{"type":38,"value":1084},"Jencks, C. (2006). \"The iconic building is here to stay\". ",{"type":18,"tag":34,"props":1086,"children":1087},{},[1088],{"type":38,"value":362},{"type":38,"value":1090}," 10(1), 3–20. doi:",{"type":18,"tag":41,"props":1092,"children":1095},{"href":1093,"rel":1094},"https:\u002F\u002Fdoi.org\u002F10.1080\u002F13604810600594605",[45],[1096],{"type":38,"value":1097},"10.1080\u002F13604810600594605",{"type":38,"value":1099},". The argument of ",{"type":18,"tag":34,"props":1101,"children":1102},{},[1103],{"type":38,"value":535},{"type":38,"value":1105}," in essay form.",{"type":18,"tag":956,"props":1107,"children":1108},{},[1109],{"type":38,"value":1072},{"type":18,"tag":956,"props":1111,"children":1112},{},[1113],{"type":38,"value":992},{"type":18,"tag":929,"props":1115,"children":1116},{},[1117,1136,1140],{"type":18,"tag":956,"props":1118,"children":1119},{},[1120,1122,1126,1128,1135],{"type":38,"value":1121},"Jencks, C. (2007). \"Why Critical Modernism?\" ",{"type":18,"tag":34,"props":1123,"children":1124},{},[1125],{"type":38,"value":324},{"type":38,"value":1127}," 77(5), 140–145. doi:",{"type":18,"tag":41,"props":1129,"children":1132},{"href":1130,"rel":1131},"https:\u002F\u002Fdoi.org\u002F10.1002\u002Fad.534",[45],[1133],{"type":38,"value":1134},"10.1002\u002Fad.534",{"type":38,"value":236},{"type":18,"tag":956,"props":1137,"children":1138},{},[1139],{"type":38,"value":1072},{"type":18,"tag":956,"props":1141,"children":1142},{},[1143],{"type":38,"value":992},{"type":18,"tag":929,"props":1145,"children":1146},{},[1147,1175,1179],{"type":18,"tag":956,"props":1148,"children":1149},{},[1150,1152,1156,1158,1165,1167,1174],{"type":38,"value":1151},"Jencks, C. (2011). \"What is Radical Post-Modernism?\" ",{"type":18,"tag":34,"props":1153,"children":1154},{},[1155],{"type":38,"value":324},{"type":38,"value":1157}," 81(5), 14–23. doi:",{"type":18,"tag":41,"props":1159,"children":1162},{"href":1160,"rel":1161},"https:\u002F\u002Fdoi.org\u002F10.1002\u002Fad.1291",[45],[1163],{"type":38,"value":1164},"10.1002\u002Fad.1291",{"type":38,"value":1166},". From an issue he guest-edited, which also prints his debate with Rem Koolhaas (32–45, doi:",{"type":18,"tag":41,"props":1168,"children":1171},{"href":1169,"rel":1170},"https:\u002F\u002Fdoi.org\u002F10.1002\u002Fad.1293",[45],[1172],{"type":38,"value":1173},"10.1002\u002Fad.1293",{"type":38,"value":151},{"type":18,"tag":956,"props":1176,"children":1177},{},[1178],{"type":38,"value":1072},{"type":18,"tag":956,"props":1180,"children":1181},{},[1182],{"type":38,"value":992},{"type":18,"tag":929,"props":1184,"children":1185},{},[1186,1205,1209],{"type":18,"tag":956,"props":1187,"children":1188},{},[1189,1191,1195,1197,1204],{"type":38,"value":1190},"Jencks, C. (2017). \"Maggie's Architecture: The Deep Affinities Between Architecture and Health\". ",{"type":18,"tag":34,"props":1192,"children":1193},{},[1194],{"type":38,"value":324},{"type":38,"value":1196}," 87(2), 66–75. doi:",{"type":18,"tag":41,"props":1198,"children":1201},{"href":1199,"rel":1200},"https:\u002F\u002Fdoi.org\u002F10.1002\u002Fad.2154",[45],[1202],{"type":38,"value":1203},"10.1002\u002Fad.2154",{"type":38,"value":236},{"type":18,"tag":956,"props":1206,"children":1207},{},[1208],{"type":38,"value":1072},{"type":18,"tag":956,"props":1210,"children":1211},{},[1212],{"type":38,"value":992},{"type":18,"tag":96,"props":1214,"children":1216},{"id":1215},"talks-and-interviews",[1217],{"type":38,"value":9},{"type":18,"tag":118,"props":1219,"children":1220},{},[1221,1233,1245,1264,1276,1288,1300],{"type":18,"tag":122,"props":1222,"children":1223},{},[1224,1226,1232],{"type":38,"value":1225},"Architectural League of New York, \"Postmodern Classicism\", recorded 17 November 1980. Audio: ",{"type":18,"tag":41,"props":1227,"children":1230},{"href":1228,"rel":1229},"https:\u002F\u002Farchleague.org\u002Farticle\u002Fcharles-jencks-postmodern-classicism\u002F",[45],[1231],{"type":38,"value":1228},{"type":38,"value":236},{"type":18,"tag":122,"props":1234,"children":1235},{},[1236,1238,1244],{"type":38,"value":1237},"RIBA, \"Postmodernism: The True Inheritor of Modernism\", 1982. Audio and a free transcript from the RIBA Collections: ",{"type":18,"tag":41,"props":1239,"children":1242},{"href":1240,"rel":1241},"https:\u002F\u002Fwww.riba.org\u002Fexplore\u002Friba-collections\u002Finside-our-collections\u002Fcharles-jencks-on-postmodernism\u002F",[45],[1243],{"type":38,"value":1240},{"type":38,"value":236},{"type":18,"tag":122,"props":1246,"children":1247},{},[1248,1250,1255,1257,1263],{"type":38,"value":1249},"Architectural League of New York, \"Symbolic Architecture\", 1985, given with his book ",{"type":18,"tag":34,"props":1251,"children":1252},{},[1253],{"type":38,"value":1254},"Towards a Symbolic Architecture",{"type":38,"value":1256},". Audio: ",{"type":18,"tag":41,"props":1258,"children":1261},{"href":1259,"rel":1260},"https:\u002F\u002Farchleague.org\u002Farticle\u002Fcharles-jencks-symbolic-architecture\u002F",[45],[1262],{"type":38,"value":1259},{"type":38,"value":236},{"type":18,"tag":122,"props":1265,"children":1266},{},[1267,1269,1275],{"type":38,"value":1268},"SCI-Arc, \"Towards a New Paradigm\", 10 November 2003. Video, 1 h 49 min: ",{"type":18,"tag":41,"props":1270,"children":1273},{"href":1271,"rel":1272},"https:\u002F\u002Fchannel.sciarc.edu\u002Fbrowse\u002Fcharles-jencks-towards-a-new-paradigm-november-10-2003",[45],[1274],{"type":38,"value":1271},{"type":38,"value":236},{"type":18,"tag":122,"props":1277,"children":1278},{},[1279,1281,1287],{"type":38,"value":1280},"ICA London, \"Adhocism\", 13 July 2016. Video: ",{"type":18,"tag":41,"props":1282,"children":1285},{"href":1283,"rel":1284},"https:\u002F\u002Farchive.ica.art\u002Fnode\u002F55174",[45],[1286],{"type":38,"value":1283},{"type":38,"value":236},{"type":18,"tag":122,"props":1289,"children":1290},{},[1291,1293,1299],{"type":38,"value":1292},"Newcastle University public lecture, \"Open-air landscape – the secular cathedrals of our time?\", 31 October 2017: ",{"type":18,"tag":41,"props":1294,"children":1297},{"href":1295,"rel":1296},"https:\u002F\u002Fncl.ac.uk\u002Funiversity-events\u002Fpublic-lectures\u002Fpast-lectures\u002Fpre-2020\u002Fitem\u002F2017-open-air-landscape--the-secular-cathedrals-of-our-time.html",[45],[1298],{"type":38,"value":1295},{"type":38,"value":236},{"type":18,"tag":122,"props":1301,"children":1302},{},[1303,1305,1310,1312,1319],{"type":38,"value":1304},"BBC: ",{"type":18,"tag":34,"props":1306,"children":1307},{},[1308],{"type":38,"value":1309},"Kings of Infinite Space: Frank Lloyd Wright & Michael Graves",{"type":38,"value":1311}," (Academy Editions, 1983, LCCN ",{"type":18,"tag":41,"props":1313,"children":1316},{"href":1314,"rel":1315},"https:\u002F\u002Flccn.loc.gov\u002F83050702",[45],[1317],{"type":38,"value":1318},"83050702",{"type":38,"value":1320},") is catalogued as \"based on the BBC film by Charles Jencks\".",{"type":18,"tag":96,"props":1322,"children":1324},{"id":1323},"landforms-and-buildings",[1325],{"type":38,"value":10},{"type":18,"tag":118,"props":1327,"children":1328},{},[1329,1346,1364,1374,1384,1394,1404],{"type":18,"tag":122,"props":1330,"children":1331},{},[1332,1336,1338,1345],{"type":18,"tag":161,"props":1333,"children":1334},{},[1335],{"type":38,"value":823},{"type":38,"value":1337},", Portrack House, near Dumfries, developed from 1988 with Maggie Keswick Jencks. It is the source of his book of 2003, and Historic Environment Scotland designated it in 2025 (",{"type":18,"tag":41,"props":1339,"children":1342},{"href":1340,"rel":1341},"https:\u002F\u002Fc20society.org.uk\u002Fnews\u002Fjencks-garden-of-cosmic-speculation-the-latest-scottish-landscape-to-be-designated",[45],[1343],{"type":38,"value":1344},"Twentieth Century Society",{"type":38,"value":151},{"type":18,"tag":122,"props":1347,"children":1348},{},[1349,1354,1356,1363],{"type":18,"tag":161,"props":1350,"children":1351},{},[1352],{"type":38,"value":1353},"The Cosmic House",{"type":38,"value":1355}," (formerly the Thematic House), 19 Lansdowne Walk, London, remodelled with Maggie Keswick and Terry Farrell, about 1979–85. Grade I listed in 2018 (Historic England list entry 1450124). It opened as a museum run by the Jencks Foundation on 24 September 2021 (",{"type":18,"tag":41,"props":1357,"children":1360},{"href":1358,"rel":1359},"https:\u002F\u002Fwww.architecturalrecord.com\u002Farticles\u002F15325-charles-jenckss-eclectic-the-cosmic-house-opens-in-london",[45],[1361],{"type":38,"value":1362},"Architectural Record",{"type":38,"value":151},{"type":18,"tag":122,"props":1365,"children":1366},{},[1367,1372],{"type":18,"tag":161,"props":1368,"children":1369},{},[1370],{"type":38,"value":1371},"Landform Ueda",{"type":38,"value":1373},", Scottish National Gallery of Modern Art, Edinburgh, completed 2002.",{"type":18,"tag":122,"props":1375,"children":1376},{},[1377,1382],{"type":18,"tag":161,"props":1378,"children":1379},{},[1380],{"type":38,"value":1381},"Cells of Life",{"type":38,"value":1383},", Jupiter Artland, near Edinburgh, 2003–2010.",{"type":18,"tag":122,"props":1385,"children":1386},{},[1387,1392],{"type":18,"tag":161,"props":1388,"children":1389},{},[1390],{"type":38,"value":1391},"Northumberlandia",{"type":38,"value":1393},", a landform in the shape of a reclining woman, in Northumberland, opened 2012.",{"type":18,"tag":122,"props":1395,"children":1396},{},[1397,1402],{"type":18,"tag":161,"props":1398,"children":1399},{},[1400],{"type":38,"value":1401},"The Crawick Multiverse",{"type":38,"value":1403},", Dumfries and Galloway, opened 2015.",{"type":18,"tag":122,"props":1405,"children":1406},{},[1407,1412,1414,1421],{"type":18,"tag":161,"props":1408,"children":1409},{},[1410],{"type":38,"value":1411},"Maggie's.",{"type":38,"value":1413}," Maggie Keswick Jencks died on 8 July 1995. The first Maggie's centre opened in Edinburgh in 1996 (",{"type":18,"tag":41,"props":1415,"children":1418},{"href":1416,"rel":1417},"https:\u002F\u002Fwww.maggies.org\u002Fabout-us\u002Fhow-maggies-works\u002Four-story\u002F",[45],[1419],{"type":38,"value":1420},"Maggie's",{"type":38,"value":151},{"type":18,"tag":96,"props":1423,"children":1425},{"id":1424},"about-him",[1426],{"type":38,"value":11},{"type":18,"tag":118,"props":1428,"children":1429},{},[1430,1450,1463,1468,1563],{"type":18,"tag":122,"props":1431,"children":1432},{},[1433,1435,1441,1443,1449],{"type":38,"value":1434},"Jencks Foundation at The Cosmic House: ",{"type":18,"tag":41,"props":1436,"children":1439},{"href":1437,"rel":1438},"https:\u002F\u002Fjencksfoundation.org\u002F",[45],[1440],{"type":38,"value":1437},{"type":38,"value":1442},". It runs the house as a museum and holds the Charles Jencks Archive, whose catalogue is online: ",{"type":18,"tag":41,"props":1444,"children":1447},{"href":1445,"rel":1446},"https:\u002F\u002Fjencksfoundation.maxarchiveservices.co.uk\u002F",[45],[1448],{"type":38,"value":1445},{"type":38,"value":236},{"type":18,"tag":122,"props":1451,"children":1452},{},[1453,1455,1461],{"type":38,"value":1454},"Personal site: ",{"type":18,"tag":41,"props":1456,"children":1459},{"href":1457,"rel":1458},"https:\u002F\u002Fwww.charlesjencks.com\u002F",[45],[1460],{"type":38,"value":1457},{"type":38,"value":1462}," (listed as his official site on Wikidata; it refused automated requests, so its contents were not checked).",{"type":18,"tag":122,"props":1464,"children":1465},{},[1466],{"type":38,"value":1467},"Education, from the Jencks archive's biography: BA in English literature, Harvard, 1961; Harvard Graduate School of Design, 1965; PhD, University of London, 1970, thesis \"Modern architecture: the tradition since 1945\", done at University College London under Reyner Banham.",{"type":18,"tag":122,"props":1469,"children":1470},{},[1471,1473],{"type":38,"value":1472},"Obituaries and tributes:\n",{"type":18,"tag":118,"props":1474,"children":1475},{},[1476,1495,1513,1525,1544],{"type":18,"tag":122,"props":1477,"children":1478},{},[1479,1481,1486,1488,1494],{"type":38,"value":1480},"India Block, ",{"type":18,"tag":34,"props":1482,"children":1483},{},[1484],{"type":38,"value":1485},"Dezeen",{"type":38,"value":1487},", 14 October 2019: ",{"type":18,"tag":41,"props":1489,"children":1492},{"href":1490,"rel":1491},"https:\u002F\u002Fwww.dezeen.com\u002F2019\u002F10\u002F14\u002Fcharles-jencks-dead-obituary-architect-critic-maggies\u002F",[45],[1493],{"type":38,"value":1490},{"type":38,"value":236},{"type":18,"tag":122,"props":1496,"children":1497},{},[1498,1500,1504,1506,1512],{"type":38,"value":1499},"\"Remembering Charles Jencks, 1939–2019\", ",{"type":18,"tag":34,"props":1501,"children":1502},{},[1503],{"type":38,"value":1362},{"type":38,"value":1505},", 14 October 2019, with tributes from Robert A. M. Stern, Paul Goldberger and George Baird: ",{"type":18,"tag":41,"props":1507,"children":1510},{"href":1508,"rel":1509},"https:\u002F\u002Fwww.architecturalrecord.com\u002Farticles\u002F14309-remembering-charles-jencks-1939-2019",[45],[1511],{"type":38,"value":1508},{"type":38,"value":236},{"type":18,"tag":122,"props":1514,"children":1515},{},[1516,1518,1523],{"type":38,"value":1517},"Oliver Wainwright, \"Charles Jencks obituary\", ",{"type":18,"tag":34,"props":1519,"children":1520},{},[1521],{"type":38,"value":1522},"The Guardian",{"type":38,"value":1524},", 15 October 2019.",{"type":18,"tag":122,"props":1526,"children":1527},{},[1528,1530,1535,1537,1543],{"type":38,"value":1529},"Neil Genzlinger, \"Charles Jencks, 80, Dies; Helped Define Postmodern Architecture\", ",{"type":18,"tag":34,"props":1531,"children":1532},{},[1533],{"type":38,"value":1534},"The New York Times",{"type":38,"value":1536},", 17 October 2019: ",{"type":18,"tag":41,"props":1538,"children":1541},{"href":1539,"rel":1540},"https:\u002F\u002Fwww.nytimes.com\u002F2019\u002F10\u002F17\u002Farts\u002Fcharles-jencks-dead.html",[45],[1542],{"type":38,"value":1539},{"type":38,"value":236},{"type":18,"tag":122,"props":1545,"children":1546},{},[1547,1549,1554,1556,1562],{"type":38,"value":1548},"Hugh Pearman, ",{"type":18,"tag":34,"props":1550,"children":1551},{},[1552],{"type":38,"value":1553},"RIBA Journal",{"type":38,"value":1555},": ",{"type":18,"tag":41,"props":1557,"children":1560},{"href":1558,"rel":1559},"https:\u002F\u002Fribaj.com\u002Fculture\u002Fobituary-charles-jencks-1939-2019-hugh-pearman",[45],[1561],{"type":38,"value":1558},{"type":38,"value":236},{"type":18,"tag":122,"props":1564,"children":1565},{},[1566,1568],{"type":38,"value":1567},"Encyclopedic summary (secondary): ",{"type":18,"tag":41,"props":1569,"children":1572},{"href":1570,"rel":1571},"https:\u002F\u002Fen.wikipedia.org\u002Fwiki\u002FCharles_Jencks",[45],[1573],{"type":38,"value":1570},{"type":18,"tag":96,"props":1575,"children":1577},{"id":1576},"could-not-verify",[1578],{"type":38,"value":12},{"type":18,"tag":118,"props":1580,"children":1581},{},[1582,1598,1612,1622,1632,1648,1658,1668,1678,1688,1701,1711,1721,1731],{"type":18,"tag":122,"props":1583,"children":1584},{},[1585,1590,1592,1596],{"type":18,"tag":161,"props":1586,"children":1587},{},[1588],{"type":38,"value":1589},"\"An inordinate amount of chaos coupled with an inordinate amount of order.\"",{"type":38,"value":1591}," Not found in either edition of ",{"type":18,"tag":34,"props":1593,"children":1594},{},[1595],{"type":38,"value":85},{"type":38,"value":1597},", in his other books' searchable text, or on the web. The verified wording is Coleridge's, quoted by Jencks (see The recipe).",{"type":18,"tag":122,"props":1599,"children":1600},{},[1601,1610],{"type":18,"tag":161,"props":1602,"children":1603},{},[1604,1606],{"type":38,"value":1605},"The sentence on p. 40 of ",{"type":18,"tag":34,"props":1607,"children":1608},{},[1609],{"type":38,"value":85},{"type":38,"value":1611}," that links Coleridge's balance to the edge of chaos was seen only in cut-off snippets. That the two appear together on the page is verified; Jencks's exact wording there is not.",{"type":18,"tag":122,"props":1613,"children":1614},{},[1615,1620],{"type":18,"tag":161,"props":1616,"children":1617},{},[1618],{"type":38,"value":1619},"The Rabbit Cabinet's client.",{"type":38,"value":1621}," The thesis says it was made for a Scottish client. The book's caption says only \"Scotland, 1992\", and the rabbits are the textbook example for the population equation, not Scottish rabbits in particular.",{"type":18,"tag":122,"props":1623,"children":1624},{},[1625,1630],{"type":18,"tag":161,"props":1626,"children":1627},{},[1628],{"type":38,"value":1629},"US distribution of the 1995 edition.",{"type":38,"value":1631}," The Library of Congress and the CCA say National Book Network. Some merged records say St. Martin's Press. A Wiley ISBN for the 1997 edition, 0-471-97748-9, appears only in bookseller data.",{"type":18,"tag":122,"props":1633,"children":1634},{},[1635,1640,1642,1646],{"type":18,"tag":161,"props":1636,"children":1637},{},[1638],{"type":38,"value":1639},"Other translations.",{"type":38,"value":1641}," The ",{"type":18,"tag":34,"props":1643,"children":1644},{},[1645],{"type":38,"value":331},{"type":38,"value":1647}," issue number for the German version was not found. Persian and Arabic editions appear only on Goodreads. No Italian or Spanish edition was found.",{"type":18,"tag":122,"props":1649,"children":1650},{},[1651,1656],{"type":18,"tag":161,"props":1652,"children":1653},{},[1654],{"type":38,"value":1655},"Pruitt–Igoe.",{"type":38,"value":1657}," The wording of his 1977 claim was checked only through quotations of it (Dezeen, 2022), and the page number only through Wikipedia. The demolition dates come from Wikipedia's article, which cites Ramroth (2007).",{"type":18,"tag":122,"props":1659,"children":1660},{},[1661,1666],{"type":18,"tag":161,"props":1662,"children":1663},{},[1664],{"type":38,"value":1665},"Dates of the Cosmic House.",{"type":38,"value":1667}," The remodelling is dated 1979–84, 1979–85 or 1983 by different sources, and the day of the 2018 listing was not confirmed (Historic England refused automated requests).",{"type":18,"tag":122,"props":1669,"children":1670},{},[1671,1676],{"type":18,"tag":161,"props":1672,"children":1673},{},[1674],{"type":38,"value":1675},"Landform dates.",{"type":38,"value":1677}," Northumberlandia is said to have opened on 29 August 2012 (Wikipedia) or in September 2012 (the estate). The Crawick Multiverse start is given as 2005 or 2010.",{"type":18,"tag":122,"props":1679,"children":1680},{},[1681,1686],{"type":18,"tag":161,"props":1682,"children":1683},{},[1684],{"type":38,"value":1685},"Education.",{"type":38,"value":1687}," The Harvard GSD degree is given as \"BA and MA\" by the Foundation and as an MA in architecture by Wikipedia; it was not confirmed as an M.Arch. George Baird recalls him as a doctoral candidate at the Bartlett from 1964; other sources say he moved to London in 1965.",{"type":18,"tag":122,"props":1689,"children":1690},{},[1691,1699],{"type":18,"tag":34,"props":1692,"children":1693},{},[1694],{"type":18,"tag":161,"props":1695,"children":1696},{},[1697],{"type":38,"value":1698},"The Universe in the Landscape",{"type":38,"value":1700}," is given as 288 pp. (CCA) and 256 pp. (Plymouth). No page count is given above.",{"type":18,"tag":122,"props":1702,"children":1703},{},[1704,1709],{"type":18,"tag":161,"props":1705,"children":1706},{},[1707],{"type":38,"value":1708},"The Guardian and NYT obituaries",{"type":38,"value":1710}," were not read; their authors and dates come from Wikipedia and Wikidata. The Times, Scotsman and Architects' Journal obituaries were not read.",{"type":18,"tag":122,"props":1712,"children":1713},{},[1714,1719],{"type":18,"tag":161,"props":1715,"children":1716},{},[1717],{"type":38,"value":1718},"The RIBA lecture date",{"type":38,"value":1720}," (30 November 1982) comes only from a file name. The Harvard GSD lecture \"The Architecture of the Multiverse\" (20 October 2016) has no recording that was found.",{"type":18,"tag":122,"props":1722,"children":1723},{},[1724,1729],{"type":18,"tag":161,"props":1725,"children":1726},{},[1727],{"type":38,"value":1728},"\"The Rise of Post-Modern Architecture\" (1975)",{"type":38,"value":1730},": page numbers not found.",{"type":18,"tag":122,"props":1732,"children":1733},{},[1734,1739],{"type":18,"tag":161,"props":1735,"children":1736},{},[1737],{"type":38,"value":1738},"charlesjencks.com",{"type":38,"value":1740},": contents and how current it is were not checked.",{"type":18,"tag":19,"props":1742,"children":1743},{},[1744,1746,1750,1752,1756],{"type":38,"value":1745},"Mirrors to avoid (found, not recommended): pdfcoffee.com (a ",{"type":18,"tag":34,"props":1747,"children":1748},{},[1749],{"type":38,"value":85},{"type":38,"value":1751}," PDF); assets.teyit.org and db2.clearout.io (spam PDFs of ",{"type":18,"tag":34,"props":1753,"children":1754},{},[1755],{"type":38,"value":644},{"type":38,"value":1757},"); Internet Archive lending copies.",{"type":18,"tag":96,"props":1759,"children":1761},{"id":1760},"notes-for-the-methodology",[1762],{"type":38,"value":13},{"type":18,"tag":118,"props":1764,"children":1765},{},[1766,1805,1815,1825],{"type":18,"tag":122,"props":1767,"children":1768},{},[1769,1774,1775,1781,1783,1789,1791,1797,1799,1803],{"type":18,"tag":161,"props":1770,"children":1771},{},[1772],{"type":38,"value":1773},"The edge-of-chaos line is Coleridge's, through Jencks.",{"type":38,"value":1040},{"type":18,"tag":73,"props":1776,"children":1778},{"className":1777},[],[1779],{"type":38,"value":1780},"design_methodology.md",{"type":38,"value":1782}," (\"The Edge of Chaos\") gives \"where a more than usual level of imagination meets a more than usual degree of order\" without a source. ",{"type":18,"tag":73,"props":1784,"children":1786},{"className":1785},[],[1787],{"type":38,"value":1788},"design_philosophy.md",{"type":38,"value":1790}," and ",{"type":18,"tag":73,"props":1792,"children":1794},{"className":1793},[],[1795],{"type":38,"value":1796},"design_methodology_analysis.md",{"type":38,"value":1798}," put it in quotation marks. It is the thesis's paraphrase of Jencks (1995, ch. VII, p. 39), who quotes Coleridge (",{"type":18,"tag":34,"props":1800,"children":1801},{},[1802],{"type":38,"value":92},{"type":38,"value":1804},", 1817, ch. XIV): \"a more than usual state of emotion with more than usual order\". Credit both, and don't present the paraphrase as a quotation of either.",{"type":18,"tag":122,"props":1806,"children":1807},{},[1808,1813],{"type":18,"tag":161,"props":1809,"children":1810},{},[1811],{"type":38,"value":1812},"The term \"edge of chaos\" comes from complexity science",{"type":38,"value":1814}," (Langton, 1990; Packard; Kauffman), which Jencks credits. There it names the narrow regime between frozen order and chaos where complex computation and adaptation happen. That fits the methodology's use: freedom and structure held together, not traded off.",{"type":18,"tag":122,"props":1816,"children":1817},{},[1818,1823],{"type":18,"tag":161,"props":1819,"children":1820},{},[1821],{"type":38,"value":1822},"\"Early stages need more freedom, later stages need more order\"",{"type":38,"value":1824}," is the methodology's own addition. Coleridge and Jencks describe a balance held at once, not a sequence.",{"type":18,"tag":122,"props":1826,"children":1827},{},[1828,1833,1835,1840,1842,1846,1848,1853],{"type":18,"tag":161,"props":1829,"children":1830},{},[1831],{"type":38,"value":1832},"Two of the thesis's sources disagreed.",{"type":38,"value":1834}," The 1995 ",{"type":18,"tag":34,"props":1836,"children":1837},{},[1838],{"type":38,"value":1839},"Spectator",{"type":38,"value":1841}," review of ",{"type":18,"tag":34,"props":1843,"children":1844},{},[1845],{"type":38,"value":85},{"type":38,"value":1847}," points to Alexander's ",{"type":18,"tag":34,"props":1849,"children":1850},{},[1851],{"type":38,"value":1852},"Nature of Order",{"type":38,"value":1854}," as the deeper account of order in architecture. The thesis draws on both men: Alexander for decomposition, Jencks for the edge of chaos.",1794599286529]