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Review A gifted storyteller is one who makes his subject come alive. Charles Jencks is unequivocally architectures greatest living storyteller, He has probably produced nearly as many books and articles during his prolific career as did Le Corbusier, the subject of his latest work. In Le Corbusier and the Continual Revolution in Architecture, Jencks has woven together readings of Corbs writings, paintings, architecture, and city planning with pertinent (and sometimes impertinent) biographical details. It is an epic poem in the tradition of Chaucer, and can be read as such.
Jenckss style is jocular, freewheeling, anecdotal, and provocative-- as he is in person. In this book there is much on Le Corbusier that has been said before, by Jencks himself as well as others. Le Corbusier and the Continual Revolution is, in large measure, a revision and vastly expanded version of his Le Corbusier and the Tragic View of Architecture (Harvard University Press, 17), drawing upon research and testimony that continue to emerge about a man whom Jencks believes to be not only a tragic persona, but a genius as well. He rewrites, splices, condenses, expands, speculates, and even offers his own chart of history so that we may easily visualize developments.
Jencks is true to his signature method of interpretation, which proceeds by analogy and metaphor, with limitless imagination. However, he also follows, or leads, a trend in architectural theorizing that has become widespread in the late 0th century, namely to look to other realms of intellectual inquiry for insight and guidance. The absence of a single, comprehensive, overarching theory that might serve practitioners has led would-be theorists, writers, and teachers of architecture to seek parallels within other disciplines, such as literature, linguistics, and sociology. Jenckss references range from Noam Chomsky and semiology in the 170s to the sociology of David Harvey and David Herf in the 10s, illustrating that he has kept abreast of cutting-edge theory. Most recently he has forayed into cognitive science, finding in it another means for classifying (something the author claims he dislikes) the crucial facts of Le Corbusiers biography to fit a type, namely of the typical genius, or basically protean type of creative individual.
Fortunately for readers who have not yet read Howard Gardners Creating Minds An Anatomy of Creativity Seen Through the Lives of Freud, Einstein, Picasso, Stravinsky, Eliot, Graham and Gandhi (Basic Books, 1), Jencks includes an appendix summarizing his theory. Gardner explores seven figures whom he calls Exemplary Creators, individuals who radically altered their fields, yet also shared common features in their development. To Gardners Big Seven, Jencks wants to include an eighth Le Corbusier. His previous comparisons between Corb and Don Quixote, Nietzches Zarathustra, Jesus Christ, etc., are also present in the new book. What remains unclear is the purpose of introducing a new paradigm in which to slip Corb. Is it fundamental to our understanding of Le Corbusier that he fit the pattern of a genius of the caliber of Einstein or Stravinsky? He loved the idea of standardization and the type, says Jencks, who then concludes, so he would have liked to be considered a normal genius, warts and all, with all the nasty and cruel truths revealed in the end. It is sufficient to say, as Jencks ultimately does, that Corb was a man driven by a vision and leave it at that, rather than apply a label that has become a cliche.
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Richly coded as a result of Le Corbusiers obsession with symbolism, Ronchamp is proto-postmodern, according to Jencks. In this collage, he highlights the multiple readings of its forms and imagery (above). Drawings by Hillel Schocken (facing page) also depict some of the metaphors that Ronchamp evokes.
The tone Jencks adopts throughout the book is one of revelation, as he ostensibly divulges important facts we never knew about the great architect. He is consciously rewriting 0th-century architectural history to reveal Le Corbusier as its most revolutionary and inventive designer. (Jencks claims elsewhere that Antonio Gaudi, too, deserves that honor.) Some years ago Jencks invented the elaborate Evolutionary Tree for architecture, various versions of which have appeared in his books over the years, including The Language of Postmodern Architecture (Rizzoli, 177). He is continually updating the tree, which appears now in this book, spanning the period 100to 000 and depicting 40-odd movements and 400 persons producing six types of architecture. The author points out that his revolutionary Le Corbusier-no longer evolutionary-- appears four times (more than any other figure), and that he invented four or five different languages in architecture.
Jencks has built a career on the game of signification as he calls it, which is based upon finding hidden coding and new metaphors, each more astounding than the previous ones. But one begins to suspect that the exercise of rewriting, or revising, previous books is self-serving in more ways than one. Having a vested interest in postmodernism as a concept, Jencks now offers Le Corbusier as the grandfather of the movement because his work, Ronchamp in particular, is imbedded with the multivalence[s] of meaning so cherished by the postmodernists. This makes the building, in Jenckss words, a harbinger of postmodern architecture. He likens the chapels distinctive form to a nuns cowl, a monks hood, a ships prow, praying hands. Setting off on a game of Hunt the Symbol, as he calls it, Jencks identifies with a certain surety the formal similarities behind different symbols. Le Corbusiers Ubu sculptures, fractal geometry, and anthropomorphism (ear-like forms) generated the plan and shape of Ronchamp, Jencks asserts, among other metaphorical readings.
As we know, with raconteurs much of the story is in the telling. A recurrent theme favored by Jencks in his repeat performances on Corb is the supposed relationship between the architects sex life and his architecture. The chapters Jeanneret Discovers Sex in a Pot, The Primitive and the Sexual, and Josephine [Baker]-Goddess of Dance, as well as long discussions of Le Corbusiers purported affairs with Marguerite Tjader-- Harris and Minnette De Silva take us into armchair psychology and moral speculation that can only increase the popularity of this book. Jencks has always supported the notion that female shapes in Corbs paintings could be correlated with aspects of his urban-planning projects for Rio and Algiers. The reader is offered further evidence of Corbs sexual obsessions (big hips), voyeurism (sketching women cavorting in brothels), in addition to extra-- marital affairs, but these will have little impact on our overall long-term assessment of Corbs architecture.
On the subject of Chandigarh, however, (the city in India designed by Le Corbusier) Jencks makes insightful remarks. Invited to Chandigarh in 1 to participate in a symposium commemorating the citys 50th anniversary, he had the opportunity to learn a great deal-especially from the Indians, but also from other foreigners. In opening his remarks to the assembly of survivors of modernism, and speaking as a postmodernist, Jencks asked, What would Le Corbusier do today for Chandigarh as a city? Almost lost in ethereal discussions about solar rituals and transcendentalism was a proposal that polarized opinion to re-urbanize and densify Chandigarh, beginning with the explanade of the capitol. While it is pure speculation whether or not Corb would accept this kind of growth, Jencks does well to raise the issue of this city and other planned modern cities within what he calls an ecology of succession layers of growth that permit conservation, but also accept change.
What is disturbing in Jenckss approach is his ignorance, or purposeful omission, of some of the very best Corb scholarship of the last 5 years, including work by Manfredo Tafuri, Bruno Reichlin, Jacques Lucan, Giuliano Gresleri, as well as Alan Colquhoun and Kenneth Frampton. This seems to point at the deep gulf that separates Jenckss particular genre of interpretation from that of many of his colleagues. Nonetheless he modestly admits, One is bound to be wrong, or at least too limited, in any attempt to fix his essential contribution. The interpretations that are usually made are either contradicted by Le Corbusiers supremely dialectical development, or they pale beside the creative wealth of his output. As biography, Le Corbusier and the Continual Revolution in Architecture provides highly readable, entertaining speculation about the life and nature of a normal genius.
Le Corbusier and the Continual Revolution in Architecture, by Charles Jencks (Monacelli Press)
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