Charles jencks

The mixed messages of today’s architecture – retro utopias or dizzy towers?

Only when history is decarbonised and decolonised will we understand how architecture should advance. For the time being, the art and science of building design are additionally hobbled by ‘systemic’ gender bias and ‘western-centric’ chauvinism.  If the dreary fugue of DEI rhetoric and the baffling clichés of archispeak make you want to scream, this book may not be for you. But get beyond the annoying tone – which combines dire waffle with apocalyptic prophecy – and Owen Hopkins has an important subject. The ‘Manifesto House’, he tells us, is evidence of a ‘deep and all-encompassing vision’ enjoyed by its designers. And these visions project themselves into the future, the place

Absurd and amusing, solemn and scholarly: Charles Jencks’s Cosmic House reviewed

An editor once told me: always look at the loos. It was remarkable, she said, how many grand cultural projets, having spent a fortune on the atrium, the concert hall, the galleries, spent pennies on the bogs. The smallest rooms at Charles Jencks’s Cosmic House are among the loveliest loos in London with windows on to the garden and a ‘Jencksiana’ mirror over the sink. This was the Baltimore-born writer, critic and landscape designer’s take on the ‘Serliana’ window devised by the mannerist architect Sebastiano Serlio and it recurs throughout this mad and marvellous post-modern house. Jencks died in 2019 leaving his house on Lansdowne Walk in Holland Park as