Madelon’s models and illustrations for architecture theorist and landscape architect Charles Jencks. These works are from three of his published works:

​

Garden of Cosmic Speculation

​

The Garden of Cosmic Speculation is a landscape that celebrates the new sciences of complexity and chaos theory and consists of a series of metaphors exploring the origins, the destiny and the substance of the Universe.

​

The Universe in the Landscape: Landforms by Charles Jencks

​

Like the prehistoric earthworks of Britain that have been an inspiration, such as Stonehenge, his landforms contain cosmic symbolism, and they draw together sculpture, epigraphy, water, gardens, scrap metal and architecture. They address perennial themes – identity, patterns of nature, death and the power of life – but in a contemporary way, based on the insights of science. So Jencks portrays universal aspects of DNA, the spacetime warp of a black hole, the extraordinary way cells divide and unite and some basic forms of life. Jencks seeks to define a new landscape iconography based on forms and themes that may be eternal, in the sense that they crystallise nature’s laws, some of which have been recently discovered.

​

Jencks addresses some of the strange possibilities that arise with extra-large landforms. Northumberlandia, perhaps the largest human figure ever made, presents the question of which body parts one can walk on safely, which are dangerous and which need to be suppressed. What became perhaps the heaviest work of art in the world, at 20 million tons, was also the opportunity to transform a large open-cast mine into a dynamic landscape of giant mounds and sculpted lakes.

​

The Story of Post-modernism: Five Decades of the Ironic, Iconic and Critical in Architecture

​

Charles Jencks, the authority on Post–Modern architecture and culture, provides the defining account of Post–Modern architecture from its earliest roots in the early 60s to the present day.