Christopher W. Alexander

At the core of A Pattern Language is the philosophy 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 formal system which gives them coherence. This book provides a language of this kind. It will enable making 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 language are outlined, each consisting 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 seems likely that they will be a part of human nature and human action as much in five hundred years as they are today. A Pattern Language is related to Alexander’s other works in the Center for Environmental Structure series: The Timeless Way of Building (introductory volume) and The Oregon Experiment.

In The Timeless Way of Building Christopher Alexander presents a new theory of architecture, building, and planning which has at its core that age-old process by which the people of a society have always pulled the order of their world from their own being. He writes, “There is one timeless way of building. It is thousands of years old, and the same today as it has always been. The great traditional buildings of the past, the villages and tents and temples in which man feels at home, have always been made by people who were very close to the center of this way. It is not possible to make great buildings, or great towns, beautiful places, places where you feel yourself, places where you feel alive, except by following this way. And, as you will see, this way will lead anyone who looks for it to buildings which are themselves as ancient in their form as the trees and hills, and as our faces are.” The Timeless Way of Building is the introductory volume to Alexander’s other works, A Pattern Language and The Oregon Experiment, in the Center for Environmental Structure series.

The purpose of all architecture, writes Christopher Alexander, is to encourage and support life-giving activity, dreams, and playfulness. But in recent decades, while our buildings are technically better--more sturdy, more waterproof, more energy efficient-- they have also became progressively more sterile, rarely providing the kind of environment in which people are emotionally nourished, genuinely happy, and deeply contented. Using the example of his building of the Eishin Campus in Japan, Christopher Alexander and his collaborators reveal an ongoing dispute between two fundamentally different ways of shaping our world. One system places emphasis on subtleties, on finesse, on the structure of adaptation that makes each tiny part fit into the larger context. The other system is concerned with efficiency, with money, power and control, stressing the more gross aspects of size, speed, and profit. This second, "business-as-usual" system, Alexander argues, is incapable of creating the kind of environment that is able to genuinely support the emotional, whole-making side of human life. To confront this sterile system, the book presents a new architecture that we--both as a world-wide civilization, and as individual people and cultures--can create, using new processes that allow us to build places of human energy and beauty. The book outlines nine ways of working, each one fully dedicated to wholeness, and able to support day-to-day activities that will make planning, design and construction possible in an entirely new way, and in more humane ways. An innovative thinker about building techniques and planning, Christopher Alexander has attracted a devoted following. Here he introduces a way of building that includes the best current practices, enriched by a range of new processes that support the houses, communities, and health of all who inhabit the Earth.

Christopher Alexander owns what many now believe to be the finest collection of early Turkish carpets in the western world, with perhaps half being the only specimens of their kind anywhere. In this richly illustrated, oversized volume--featuring four hundred illustrations, eighty in full color--Alexander takes readers on an engaging tour of his fabulous collection. Readers will see a 13th-century Seljuk Carpet with Dragons, a 15th-century Animal Carpet, a scarlet-niched Transylvanian Prayer Rug, a turquoise Lattice Carpet from Alcaraz, a 16th-century blue Medallion Keyhole Design from Bergama, a rare 16th-century White Field Bird Carpet, the dazzling color and brilliant geometry of a 15th-century Karapinar with Three Gulls, and perhaps Alexander's favorite, a 15th-century Star Karapinar with Flowers (whose designs he describes as "the high point of all Sufi art, the state of liberation, in which the artist is so free, that he is able to be completely natural"). In addition, Alexander elaborates on his theory that these carpets teach structure to artists and architects through the beauty of their form. This lavishly produced volume makes an important contribution to the world of rug scholarship. Equally important, Alexander's thoughtful meditations on these pieces will fascinate the many architects, artists, and planners who follow his work.