The Nature Of Order

In Book Oneof this four-volume work, Alexander describes a scientific view of the world in which all space-matter has perceptible degrees of life, and establishes this understanding of living structures as an intellectual basis for a new architecture. He identifies fifteen geometric properties which tend to accompany the presence of life in nature, and also in the buildings and cities we make. These properties are seen over and over in nature and in the cities and streets of the past, but they have almost disappeared in the impersonal developments and buildings of the last hundred years. This book shows that living structures depend on features which make a close connection with the human self, and that only living structure has the capacity to support human well-being.

Christopher Alexander's series of groundbreaking books--including The Timeless Way of Building and A Pattern Language--have illuminated the fundamental truths of traditional ways of building, revealing what gives life and beauty and true functionality to buildings and towns. Now, in The Nature of Order, Alexander delves into the essential properties of life itself, highlighting a common set of well-defined structures that he believes are present in all order--and in all life--from micro-organisms and mountain ranges to the creation of good houses and vibrant communities. In The Phenomenon of Life, the first volume in this masterwork, Alexander ponders the nature of order as an intellectual basis for a new architecture, proposing a well-defined scientific view of the world in which all space-matter has perceptible degrees of life. With this view as foundation, we can ask precise questions about what must be done to create life in the world--"whether in a single room...a doorknob...a neighborhood...even in a vast region." He presents the basic tenets of the concept, expanding on his theories of centers and of wholeness as a structure, and describes the fifteen properties from which he feels wholeness may be built. He also argues that living structure is at once both personal and structural, related not only to the geometry of space and how things work, but to human beings whose lives are ultimately based on feeling. Thus order, as the foundation of all things and as the foundation of all architecture, is both rooted in substance and rooted in feeling. Here then is the culmination of decades of intense thinking by one of the most innovative architects alive.

You can use this book to design a house for yourself with your family; you can use it to work with your neighbors to improve your town and neighborhood; you can use it to design an office, or a workshop, or a public building. And you can use it to guide you in the actual process of construction. After a ten-year silence, Christopher Alexander and his colleagues at the Center for Environmental Structure are now publishing a major statement in the form of three books which will, in their words, "lay the basis for an entirely new approach to architecture, building and planning, which will we hope replace existing ideas and practices entirely." The three books are The Timeless Way of Building, The Oregon Experiment, and this book, A Pattern Language. At the core of these books is the idea that people should design for themselves their own houses, streets, and communities. This idea may be radical (it implies a radical transformation of the architectural profession) but it comes simply from the observation that most of the wonderful places of the world were not made by architects but by the people. At the core of the books, too, is the point that in designing their environments people always rely on certain "languages," which, like the languages we speak, allow them to articulate and communicate an infinite variety of designs within a forma system which gives them coherence. This book provides a language of this kind. It will enable a person to make a design for almost any kind of building, or any part of the built environment. "Patterns," the units of this language, are answers to design problems (How high should a window sill be? How many stories should a building have? How much space in a neighborhood should be devoted to grass and trees?). More than 250 of the patterns in this pattern language are given: each consists of a problem statement, a discussion of the problem with an illustration, and a solution. As the authors say in their introduction, many of the patterns are archetypal, so deeply rooted in the nature of things that it seemly likely that they will be a part of human nature, and human action, as much in five hundred years as they are today.

This introductory volume to Alexander's other works, A Pattern of Language and The Oregon Experiment, explains concepts fundamental to his original approaches to the theory and application of architecture.

"These notes are about the process of design: the process of inventing things which display new physical order, organization, form, in response to function." This book, opening with these words, presents an entirely new theory of the process of design. In the first part of the book, Christopher Alexander discusses the process by which a form is adapted to the context of human needs and demands that has called it into being. He shows that such an adaptive process will be successful only if it proceeds piecemeal instead of all at once. It is for this reason that forms from traditional un-self-conscious cultures, molded not by designers but by the slow pattern of changes within tradition, are so beautifully organized and adapted. When the designer, in our own self-conscious culture, is called on to create a form that is adapted to its context he is unsuccessful, because the preconceived categories out of which he builds his picture of the problem do not correspond to the inherent components of the problem, and therefore lead only to the arbitrariness, willfulness, and lack of understanding which plague the design of modern buildings and modern cities. In the second part, Mr. Alexander presents a method by which the designer may bring his full creative imagination into play, and yet avoid the traps of irrelevant preconception. He shows that, whenever a problem is stated, it is possible to ignore existing concepts and to create new concepts, out of the structure of the problem itself, which do correspond correctly to what he calls the subsystems of the adaptive process. By treating each of these subsystems as a separate subproblem, the designer can translate the new concepts into form. The form, because of the process, will be well-adapted to its context, non-arbitrary, and correct. The mathematics underlying this method, based mainly on set theory, is fully developed in a long appendix. Another appendix demonstrates the application of the method to the design of an Indian village.

This volume contains ten new essays focused on the exploration and articulation of a narrative that considers the notion of order within medieval and modern philosophy—its various kinds (natural, moral, divine, and human), the different ways in which each is conceived, and the diverse dependency relations that are thought to obtain among them. Descartes, with the help of others, brought about an important shift in what was understood by the order of nature by placing laws of nature at the foundation of his natural philosophy. Vigorous debate then ensued about the proper formulation of the laws of nature and the moral law, about whether such laws can be justified, and if so, how-through some aspect of the divine order or through human beings-and about what consequences these laws have for human beings and the moral and divine orders. That is, philosophers of the period were thinking through what the order of nature consists in and how to understand its relations to the divine, human, and moral orders. No two major philosophers in the modern period took exactly the same stance on these issues, but these issues are clearly central to their thought. The Divine Order, the Human Order, and the Order of Nature is devoted to investigating their positions from a vantage point that has the potential to combine metaphysical, epistemological, scientific, and moral considerations into a single narrative.

One of TIME’s Ten Best Nonfiction Books of the Decade "Meet the new Stephen Hawking . . . The Order of Time is a dazzling book." --The Sunday Times From the bestselling author of Seven Brief Lessons on Physics, Reality Is Not What It Seems, Helgoland, and Anaximander comes a concise, elegant exploration of time. Why do we remember the past and not the future? What does it mean for time to "flow"? Do we exist in time or does time exist in us? In lyric, accessible prose, Carlo Rovelli invites us to consider questions about the nature of time that continue to puzzle physicists and philosophers alike. For most readers this is unfamiliar terrain. We all experience time, but the more scientists learn about it, the more mysterious it remains. We think of it as uniform and universal, moving steadily from past to future, measured by clocks. Rovelli tears down these assumptions one by one, revealing a strange universe where at the most fundamental level time disappears. He explains how the theory of quantum gravity attempts to understand and give meaning to the resulting extreme landscape of this timeless world. Weaving together ideas from philosophy, science and literature, he suggests that our perception of the flow of time depends on our perspective, better understood starting from the structure of our brain and emotions than from the physical universe. Already a bestseller in Italy, and written with the poetic vitality that made Seven Brief Lessons on Physics so appealing, The Order of Time offers a profoundly intelligent, culturally rich, novel appreciation of the mysteries of time.

As an innovative thinker about building and planning, Christopher Alexander has attracted a devoted following. His seminal books--The Timeless Way of Building, A Pattern Language, and The Oregon Experiment--defined a radical and fundamently new process of environmental design. Alexander now gives us the latest book in his series--a book that puts his theories to the test and shows what sort of production system can create the kind of environment he has envisioned. The Production of Houses centers around a group of buildings which Alexander and his associates built in 1976 in northern Mexico. Each house is different and the book explains how each family helped to lay out and construct its own home according to the family's own needs and in the framework of the pattern language. Numerous diagrams and tables as well as a variety of anecdotes make the day-today process clear. The Mexican project, however, is only the starting point for a comprehensive theory of housing production. The Production of Houses describes seven principles which apply to any system of production in any part of the world for housing of any cost in any climate or culture or at any density. In the last part of the book, "The Shift of Paradigm," Alexander describes, in detail, the devastating nature of the revolution in world view which is contained in his proposal for housing construction, and its overall implications for deep-seated cultural change.

This book presents a radical new picture of natural order. The Newtonian idea of a cosmos ruled by universal and exceptionless laws has been superseded; replaced by a conception of nature as a realm of diverse powers, potencies, and dispositions, a 'dappled world'. There is order in nature, but it is more local, diverse, piecemeal, open, and emergent than Newton imagined. In each chapter expert authors expound the historical context of the idea of laws of nature, and explore the diverse sorts of order actually presupposed by work in physics, biology, and the social sciences. They consider how human freedom might be understood, and explore how Newton's idea of a 'universal designer' might be revised, in this new context. They argue that there is not one unified totalizing program of science, aiming at the completion of one closed causal system. We live in an ordered universe, but we need to rethink the classical idea of the 'laws of nature' in a more dynamic and creatively diverse way.