Book Description

The foundations of modern scientific thought, four centuries old, are firmly rooted in a conception that the universe is a machinelike entity, a play of baubles, -machines, trinkets. Quantum mechanics and biology have begun to change this way of thinking, but even to this day, our real daily experience of ourselves as we actually are, has no clear place in science. No wonder that a machinelike world-view has supported the deadly architecture of the last century.

Alexander breaks away completely from the one-sided mechanical model; he shows us conclusively that the emergence of every act from a larger wholeness must change our understanding completely, and leads inevitably to the fact that a spiritual, emotional, and personal basis must underlie every act of building.

In the middle of the book comes the linchpin of the work; an 86-page chapter on color, which lavishly illustrates and dramatically conveys the way that consciousness and spirit make their appearance in the world.

Throughout this fourth and final book, is a new cosmology uniting matter and consciousness: self inextricably joined to the substrate of matter, present in all matter, and providing wholeness with its underpinnings.

The book provides a path for those contemporary scientists who are beginning to see consciousness as the underpinning of matter, and thus as a proper object of scientific study. It will change, forever, our conception of what buildings are.

"I believe he is likely to be remembered most of all, in the end, for having produced the first credible proof of the existence of God . . ."-Eric Buck, Department of Philosophy, University of Kentucky

Christopher Alexander is a fellow of the American Academy of Arts and Sciences, architect, builder and author of many books and technical papers. He is the winner of the first medal for research ever awarded by the American Institute of Architects, and after 40 years of teaching is Professor Emeritus at the University of California, Berkeley.

FROM THE PUBLISHER

The foundations of modern scientific thought, four centuries old, are firmly rooted in a conception that the universe is a machinelike entity, a play of baubles, machines, trinkets. To this day, our real daily experience of ourselves has no clear place in science. It is little wonder that a machinelike world-view has supported the deadly architecture of the last century. This mechanistic thinking and the consequent investment-oriented tracts of houses, condominiums and offices have dehumanized our cities and our lives. How are spirit, soul, emotion, feeling to be introduced into a building, or a street, or a development project, in modern times? The Luminous Ground, the fourth book of The Nature of Order, contains what is, perhaps, the deepest revelation in the four-volume work. Here is a geometrical view of space and matter seamlessly connected to our own private, personal, experience as sentient and knowing creatures. This is not merely an emotional appendix to the scientific theory of the other books. It is at the core of the entire work, and is rooted in the fact that our two sides -- our analytical thinking selves, and our vulnerable emotional personalities as human beings -- are coterminous, and must be harnessed at one and the same time, if we are ever to really make sense of what is around us, and be able to create a living world.