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Would you like to tell us about a lower price? If you are a seller for this product, would you like to suggest updates through seller support? The story of a movement that changed the face of architecture over the last 40 years of the 20th century. Starting with the counter culture of the s and the call for a complex urbanism by Jane Jacobs and a complex architecture by Robert Venturi, it shows how such demands started to be realized by the s in a new and complex architecture aided by computer design.
Often curved, warped and fractal in shape, it is more convivial, sensuous and articulate than the modern architecture it challenges. Carried forward by architects such as Frank Gehry, Daniel Libeskind and Peter Eisenman, it has also become a leading approach in many schools and offices around the world. The computer is now at its heart but its history, which Charles Jencks traces, is built on the desire for an architecture that communicates with its users, and one based on the heterogeneity of our cities and global culture.
This study was the first to define the broad issues of postmodernism, and led to its growth in other fields such as philosophy and the arts.
First written at the start of an architectural movement in the middle s and translated into 11 languages, it has gone through six editions, each one seeking to give a feeling of how the issues looked at a particular moment. Now rewritten and with two new chapters, the seventh edition brings the history up to date with the latest twists in the narrative, and the turn to a new complexity in architecture.
Read more Read less. About the Author Charles Jencks is a designer and the author of numerous books on the theory and history of architecture and was formerly visiting professor at UCLA. No customer reviews. How does Amazon calculate star ratings? The machine learned model takes into account factors including: the age of a review, helpfulness votes by customers and whether the reviews are from verified purchases.
Review this product Share your thoughts with other customers. Write a customer review. Most helpful customer reviews on Amazon. Verified Purchase. You have to admire Charles Jencks for promoting Post-Modernism in architecture for 25 years. He makes some intriguing commentaries in this book, but his arguments still ring hollow, largely due to his continued denunciation of Modernism.
He recycles his chapter on The Death of Modern Architecture, filled with the same glaring inaccuracies from the first edition. He admonishes the Modernists for inverting the traditional syntax of architecture, turning boiler rooms into chapels, and chapels into boiler rooms, which he felt was the case with Mies at the IIT campus.
But, it seems that Jencks revels in such complexities and contradictions, alluding to the seminal work by Robert Venturi which got the PoMo ball rolling in Jencks illustrates the turbulent late 60's when an attempt was made to recapture the past, heeding the call by Jane Jacobs in The Death and Life of American Cities for a new urbanism based on contextualism. The early PoMo figures seemed to revel in the collision of forms as seen in Venturi's work, or simply inverting Modernist icons like the Schroder House, as Michael Graves did in the Benacerraf House addition However, Jencks was not content to let it go at that.
In the succeeding chapters, he attempts to illustrate how Post-Modernism redirected architecture, infused it with new meaning that went beyond the corporate forms of SOM and the huge Disney resort complexes of Michael Graves and Robert Stern, which dominated the 80's.
Jencks includes a fascinating range of work, but I am left scratching my head as to whether all this is really Post-Modern. It seems a bit of a stretch to include Aldo Rossi, whose work is firmly based on Italian Rationalist traditions and the urban planning of Camillo Sitte, a 19th-century Viennese urban planner.
The Ad-Hoc forms of Ralph Erskine and Frank Gehry seem to recall theories first put forward in the 's, notably those of Aldo Van Eyck, than they do a new paradigm in architecture. But, such references seem to allude Jencks, who seems intent on rewriting architectural history from a Post-Modern perspective.
As he states in his introduction, this is a polemic and it should be read as such. It offers some engaging essays on current trends in architecture but lacks the depth of a thorough survey like that of William J.
Curtis in his book Modern Architecture since I guess the ultimate irony is that Le Corbusier is back in vogue, with playful new interpretations of the Domino House by Rem Koolhaas, and architectural one-liners like "The Not Villa Savoye" by ARM, which is painted black apparently representing the antipode of Australia.
This author did not understand complexity, and he confused it with with randomness. Complexity seen in nature such as trees, mountains, and coastlines, as well as in traditional buildings and cities, has a hidden order, whereas randomness has no order or structure at all.
Modernist architecture, in particular infected by modernism, postmodernism, and deconstructionism, has no order at all.
I felt that the author put on a beautiful cloth for the modern architects, and it has nothing to do with what they did - modern architecture. To paraphrase Michael Mehaffy and Nikos Salingaros, the architect is naked; [ A Wonderful book like all the Jenck's titles about the construction and many ways that architecture has driven along the "final" of modern architecture.
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ISBN 13: 9780300095135
The New Paradigm in Architecture tells the story of a movement that has changed the face of architecture over the last forty years. Starting with the counter culture of the s and the call for a complex urbanism by Jane Jacobs and a complex architecture by Robert Venturi, it shows how such demands started to be realised by the s, aided by computer design. Often curved, warped and fractal in shape, it is more convivial, sensuous and articulate than the modern architecture it challenges. Carried forward by architects such as Frank Gehry, Daniel Libeskind and Peter Eisenman, it has also become a leading approach in many schools and offices around the world. The computer is now at its heart but its history, which Charles Jencks traces, is built on the desire for an architecture that communicates with its users, and one based on the heterogeneity of our cities and global culture. Charles Jencks is a designer and the author of numerous books on the theory and history of architecture. He was formerly visiting professor at the University of California, Los Angeles.
Charles Jencks and the New Paradigm in Architecture