Charles Jencks Quotes

But I do believe architecture, and all art, should be content-driven. It should have something to say beyond the sensational.

Modern Architecture died in St. Louis, Missouri, on July 15, 1972, at 3.32 p.m. (or thereabouts), when the infamous Pruitt Igoe scheme, or rather several of its slab blocks, were given the final coup de grace by dynamite.

A sign to me is a one-liner, a symbol is very complex and my house is a series of symbols.

What is a garden if not a miniaturization and celebration, of the place we are in, the universe?

Post-Modern space is historically specific, rooted in conventions, unlimited or ambiguous in zoning and irrational or transformational in its relation of parts to whole……. …skew or distorted spaces, created by sharp angles which exaggerate perspective…. …always keep a mental coordinate system no matter how free- form and baroque they become. The reference plane is always an implied frontality, and the route through the building or the curvilinear elements then relate to this conceptual cage

Cant you see, we are in a dialogue with the universe?

If you look at any leaf on any tree branch, it's similar to but not exactly a repetition of the previous branch. So the new science of complexity or showing how an architecture can be produced just as quickly, cheaply and efficiently by using computer production methods to get the slight variation, the self-similarity.

In 1979, postmodernism lost its understanding of the meaning of ornament. It degenerated into kitsch applique.

If you look at Gothic detailing right down to the bottom of a column or the capital of a column, it's a small version of the whole building; that's why, like dating the backbones of a dinosaur, a good historian can look at a detail of a Gothic building and tell you exactly what the rest of the building was, and infer the whole from the parts.

The rule seems to be that there are no absolutes, that what is rare is prized. Thus, in times of relative affluence, thin models become dominant.

Like our attitude to love, truth and goodness, we seem to be confident about knowing what beauty is - certain, even dogmatic - until we think hard about the idea, whereupon all confidence flies away.

Pick up a sunflower and count the florets running into its centre, or count the spiral scales of a pine cone or a pineapple, running from its bottom up its sides to the top, and you will find an extraordinary truth: recurring numbers, ratios and proportions.

The singular point of beautiful objects, and people, is that they are experienced not as parts, or ratios between cheekbones and chin, but as wholes. The experience of beauty is a perception, but it is one that mixes up various other sensations and makes them converge in a particular way.

You have to believe in a placebo or it wont work, but if it works, its obviously working in some indirect way, through feedback in the immune system, let us say, or in the willpower of the patient to take a more strenuous exercise in their own therapy.

What is the most interesting thing to people? Other people.

Science is a victim of its own reductive metaphors: 'Big Bang,' 'selfish gene' and so on. Richard Dawkins' selfish gene fitted with the Thatcherite politics of the time. It should actually be the 'altruistic gene,' but he'd never have sold as many books with a title like that.

I'd been to Stourhead and was inspired by the perfect parity between architecture and art; in fact, the architecture is the art. I wrote a piece called 'Not Sculpture Park,' because most of these things become car parks for bought-in sculpture. The artists should be working with the site, not just plonking pieces down.