THE ARCHITECTURE OE THE JUMPING UNIVERSE A POLEMIC How Complexity Science is Changing Architecture and Culture A new world view, influenced by current science, shows the universe to be more creative and dynamic than previ- ously thought. This shift in thinking, Charles Jencks argues, is from a traditional religious perspective to a cosmogenic orientation: the view that we inhabit a self-organizing uni- verse in which the mind and culture are understood to be not accidental but typical of its creativity. How might this view change architecture and culture? In this, the second edition, Jencks makes the case that the recently formulated Complexity Theory and theory of a crea- tive cosmogenesis offer a basic answer. Architecture might reflect the processes of the universe, its energy, its growths and sudden leaps, its beautiful twists, curls and turns; its catastrophes. The book presents the basic ideas of the Sciences of Complexity and shows many buildings based on this new language by leading architects (such as Peter Eisenman, Frank Gehry and Daniel Libeskind) along with ecological and organic designs. Jencks' own recent work is used to illustrate concepts in physics and an architecture based on waves, twists and fractals. The second edition shows the movement of Nonlinear Architecture gathering momen- tum in different parts of the world with notable buildings completed in Australia, Japan, Germany and America. This friendly polemic, in a long tradition of partisan manifestoes, both advocates and criticizes as it seeks to define a new direction for the contemporary arts. It defines the challenge of a new spiritual culture, based on the twin concepts of cosmogenesis and the emergence of ever higher levels of sensitivity and organization. To my daughter Lily who jumps THE ARCHITECTURE OF THE JUMPING UNIVERSE A POLEMIC: HOW COMPLEXITY SCIENCE IS CHANGING ARCHITECTURE AND CULTURE CHARLES JENCKS ACADEMY EDITIONS REVISED EDITION ACKNOWLEDGEMENTS: I started writing the first edition of this friendly polemic soon after Jeffrey Kipnis and I had organized a symposium on Complexity Theory and architecture at the Architectural Association in London. Inevitably I am grateful to the AA for providing the place and pretext to consider the conjunction of these two subjects and, in particular, to Jeffrey for his help and criticism. He has illuminated many aspects of the field in his design and remarks. Maggie Keswick, my late wife, applied her usual sharp pen to the thickets of my prose, weeded out most of the unfortunate tangles and also supplied some very helpful ideas. I am grateful to her and Maggie Toy, my editor at Academy, for their continuous advice. Rem Koolhaas urged me in several directions which I was at first reluctant to take, but I have followed his guidance on the personal nature of a polemic - even if not as much as he advised. Charlene Spretnak, once again, has steered me through ideas on ecology and our relations with nature, as well as improved my expression in countless ways. I am indebted to her patience over several exasperating hurdles - such as the population bomb - that threatened to knock this text off course. My secretary Valerie Zakian has likewise supplied much patient help and proof-editing. At Academy Editions this book has been skilfully guided through the rabbit-warren of corrections, layout and editing by Ramona Khambatta, Phil Kirwin and Mario Bettella. I am grateful for their working so efficiently under the pressure of a Christmas deadline. And, for the Second Edition, and another Christmas deadline, Andrea Bettella, Rachel Bean, Alistair Probert and my secretary Sandra Rothwell worked to impossible deadlines with the greatest good humour. Above all it is Peter Eisenman who has been my most tireless critic and architectural foil. I have known Peter since the late 1960s, a point when we were travelling separate but related paths. Through the years we often discussed architecture, and sparred, but agreed to disagree. Then in the late 1980s, in a surprise to both of us, our paths started to converge. Contemporary science and Complexity Theory, among other issues, yoked us together. Well, here we are, surprisingly good friends — can I say accidentally caused by an emergent property in common? In any case, I am indebted to Peter for many suggestions — his positive comments on such things as 'excess', emergence and superposition — and his negative critique of such things as a 'new aesthetic'. Needless to say I did not take on every change he suggested, but I am inspired by his indefatigable example, his courage and also his unique architecture. All images are courtesy of the architect, unless otherwise stated: pl2 (left) Lockhead Martin Skunk Works (photo: Eric Schulzinger); Thomas Dix pp65, 66-67, 68, 70-71; Bruce Goff p45; Peter Eisenman/Dick Frank pp56, 57; Shigeo Ogawa/Shinkenchiku p57; Zaha Hadid p59; Steven Gerrard p63; Joshua White pp72, 73; E Walvisch p79; Jeffrey Kipnis pp80, 82, 83; Peter Eisenman p84; Peter Cook p97; Prince of Wales' Institute plOl; Santiago Calatrava p!12; O Koku, K Natori and Renzo Piano ppll4, 115; Eamonn O'Mahony ppll6, 117; Mike Bluestone pl29; ESTO (photos: Jeff Goldberg) pl72; L Linder pl74; John Gollings ppl79, 180; Katsuhisa Kida p!81; Joshua White pl85. Front cover illustration: Frank Gehry, The Guggenheim Museum, Bilbao, Spain, 1993-7. Back cover illustration: Ashton Raggart McDougall, RMIT Storey Hall, Melbourne, Australia, 1994-6. First published in Great Britain in 1995, revised edition in 1997 by ACADEMY EDITIONS A division of JOHN WILEY & SONS Baffins Lane, Chichester West Sussex PO19 1UD ISBN: 0-471-97748-9 Copyright © 1997 Charles Jencks/Maggie Keswick. All rights reserved The entire contents of this publication are copyright and cannot be reproduced in any way whatsoever without -written permission from the publishers Other Wiley Editorial Offices New York • Weinheim • Brisbane • Singapore • Toronto Printed and bound in Singapore Contents INTRODUCTION The Jumping Universe 6 PART ONE: SIMPLICITY AND COMPLEXITY I Fiasco in Berlin 18 II Shared Language and Cosmic Values 22 III Complexity in Architecture and Urbanism 26 IV Complexity Science: The Heart of Post-Modernism 29 V Demonizing Modernism 31 VI How Much Complexity? - A Cosmic Axiology 34 VII The Ideal Poet 39 PART TWO: IN WHICH LANGUAGE SHALL WE BUILD ? VIII Self-similarity (Fractals) and Strange Attractors 43 IX Nonlinearity 46 X An Architecture of Waves and Twists 49 XI Folding - Catastrophe and Continuity 52 XII Sudden Emergence - Phase Transitions 60 XIII Organizational Depth 64 XIV Superposition - Can One Build-in Time? 77 XV Edge of Chaos and Purpose in the Universe 85 XVI Ecological Challenge and Species Extinction 91 XVII Green Architecture 94 XVIII Gaia - Is She Teleological? 103 XIX High-Tech Slides to Organi-Tech 109 PART THREE: COSMOGENIC ARCHITECTURE XX The Surprising Universe and Cosmic Architecture 122 XXI Cosmogenic Architecture 138 XXII Another Aesthetic 145 XXIII The Spiritual in Architecture: Creativity in Action 150 Cosmogenesis in Content XXIV Recapturing the Bauhaus Spirit: Yalp 154 XXV The Return to a Different Nature 159 XXVI Criteria for Architecture 167 POSTSCRIPT Architecture Becomes Land-Form 170 Notes 186 Index 190 Four Jumps to Consciousness. Each of the four worlds emerged unpredictably from a small part of its predecessor, and our own world is the first to reflect back on the underlying causes and laws. One part of these laws, the Cosmic Code which scien- tists are slowly decoding, created the initial inflation badly named the 'Big Bang'. Because new, holistic worlds really do emerge with their own internal laws and being, the reductivist programme of Modern science will only produce partial truths. 6 INTRODUCTION: THE JUMPING UNIVERSE God's not in heaven, the Prince has lost his wife, and all's wrong with the world. For more than fifty years, the complaint has been that society has lost its orientation. But the trouble started earlier; ever since Copernicus displaced man from the center of things, Darwin gave him a family tree of apes from which to swing, and Freud turned his loving soul into an impulse-driven psyche, many have assumed this disorientation to be permanent. Nietzsche, of course, celebrated the death of God because it promoted the freedom and power of future man, superman, and recently Deconstructionists and the Archbishop of Canterbury - to name opposites - have drawn different conclusions from this secular shift. They do, however, agree on one thing: society lacks direction, it is disintegrating into angry fragments. Many post-modernists claim that it is confused because there is no shared philosophy, no 'metanarrative'. Against this background of dissent and decline is an unnoticed growth. A new world-view has started to spring up. For the first time in the West since the twelfth century we are beginning to construct an all-encompassing story that could unite people of the globe, a metanarrative of the universe and its crea- tion. This is emerging from contemporary science and cosmology, which are again asking the deep questions: Where do we come from? Who are we? How do we fit into an evolving world? Our recent understanding is quite unique. We are the first generation to know the approximate age of the universe, its likely origin, the main lines of its history, and its fundamental principle of increasing complexity. We are the first to unravel the major laws of its development, and the creativity, beauty and catastrophe they must bring. We are the first to understand our significant place in a single, unfolding process that has lasted some fifteen billion years - and we are the first to celebrate and question these discoveries. In fact, we have a more creative view of nature than either the Christians or Modernists could conceive. What is this view? It is the unlikely idea - especially surprising to those who thought nature 'was a machine, or like Darwin, that it evolved gradually - that the universe jumps. As I will show with nonlinearity, catastrophe and emer- gence theories, nature goes through sudden phase transitions akin to quantum leaps. There are, it is true, continuities and gradual developments, but the basic history of the universe is one of creative, surprising leaps in organization. Traditional religions emphasize constancy, the Modernists with their mechanis- tic models emphasize predictability, but the cosmos is much more dynamic than either a pre-designed world or a dead machine. 7 Think how unlikely its history is. In the last fifteen billion years only four, really basic changes have happened. Something badly named the 'Big Bang' created energy, this dynamic pulse partly froze into matter, then matter jumped into life and life gave us sentient creatures and consciousness. Only four main acts (though I will show many lesser ones in Chapter XX). To fully appreciate the strange significance of the four and many leaps, fifteen billion years would need to be collapsed into a two-hour film, giving drama to the sequence of events and the mysteries of emergence. Why should energy, then matter, arise out of the Cosmic Code? This code is a selection from the possible laws which can cohere into a universe. Might these laws be, as the prophet Isaiah and the cosmologist Stephen Hawking claim, 'thoughts in the mind of God? Are they finely balanced, even fine- tuned? Or are they just brute contingencies, a matter of very improbable luck - something approaching the odds of a billion billion to one? And then why should they produce insect societies and animals with feelings; why should sentience suddenly emerge from the physical world? Or - the jump which now finds us in mid-air - why should our minds and mathematics be so good at laying bare the Cosmic Code? The facts of each shift are now known and not in dispute, but the explanation remains enigmatic. Each jump is a great mystery and - it now appears, with the theory of emergence itself - our everyday world shows a series of lesser shifts all the time - 'emergencies' as they are sometimes called. The implications of this new world-view are disturbing because they show that violence and mass-extinction are essential parts of evolution. Yet they are also promising, because they suggest we are built, in some fundamen- tal way, into the laws of the universe. We are not, as Modernists and nihilists thought, entirely accidental or alienated from the world. The main outlines of the universe story I have sketched are now accepted as standard science but this still leaves open the most crucial question: who is to interpret these laws - just scientists and theologians? And what language should they use, what metaphors and art are appropriate to the story? Here, it strikes me, a chronic and depressing problem faces our culture. Inadequate Science and Religion Science and religion have been the two principal means we have used to explain ultimate truths, but these traditions have both become inadequate at presenting the significance of recent discoveries. Confronted by the extraordi- nary truths that have emerged, they both suffer a kind of cultural autism. It is true, as the theologian Thomas Berry says, that science is the longest unbroken meditation on the universe. It is also a progressive meditation, that is, it results in progress and itself shows progress. But scientists may not understand the wider implications of their theories which must, in the nature of science, be very limited and specialized. Or, just as bad, they may be unable to interpret the implications in larger, cosmic ways, within a broad cultural and spiritual tradition. As I will argue in Part Three, their explanations tend to be adolescent metaphors. Where did the universe come from? A 'Big Bang'. How it will end? 'Big Crunch'. And what constitutes 90 per cent of its basic stuff? 'Machos' and 'wimps'. Much of science, as a tradition, is growing a systematically gray view of the universe, something that trivializes its grandeur. The reason goes to the heart of the modern world-view. Many modern scientists, like Richard Dawkins, think nature is either purposeless (their injunction is 'Don't ask why') or else vicious, that is, built on warfare. They have swallowed the Darwinian world- view and, in turn, have been devoured by it: they end up seeing 'selfish genes' as ultimate truths. Theologians may also be limited in their outlook since, mostly, they are tied into past beliefs and traditional explanations. They tend, in order to avoid excommunication, to stuff new discoveries into old scriptures. How depress- ing, how alienating; this traditionalism cuts us off from nature and the unfold- ing story of the universe. It is true there are some religious teachers who have a deeper vision, one informed by culture and one which articulates our rela- tionship to the cosmos from within. When they distinguish between the benign and hostile aspects, it is possible to identify with some of the more positive cosmic meanings, and to see how we have grown from a small selection of them. Nature may indeed prune itself on warfare, may have a selfish force at work, but its self-organizing drive is deeper, more benign, and it gives an endless bounty of beauty, delight and energy - a giveaway to celebrate. Thus there are two basic sides to the universe: the selective and self- organizing; and two basic dialogues with nature: the scientific and religious. The former gives us the external laws and the latter the internal ways of relating to nature; or, simply put, objective equations and a poetic projection of our place in the world. But both dialogues have lost their greater vision and become parochial, defensive, lacking in wit, drama, grandeur and sur- prise (and the new universe story is nothing if not surprising). These two failures would be depressing if they were the only discourses, but where science and religion have been inadequate in interpreting the emergent world- view a fissure has opened up - and an opportunity for others with a different cultural background. Here the artist, architect and writer can enter and con- struct new territory, lay claim to badly-named realities and create better meta- phors and understanding. I will devote this book largely to others and argue a more general case, but in my own work as a designer in Scotland I have tested some of these premises. 9