Horace Trumbauer, Whitemarsh Hall (Wyndmoor, PA: under construction, 1917.12.05)
Since c.1500, humanity (however, mostly Western/European culture) has operated predominantly under the influence of an assimilating imagination--a process whereby everything about this planet, and even beyond, has been and still is run through the workings of absorption -- absorption of land, data, capital, whole societies, etc. (Science in general is a very assimilating process, and genocide is just one example of absorption in the extreme--purge.)
According to chronosomatics, a theory based on the interrelationship of time and the human body, there are roughly 200 years left where assimilation will play a major role with regard to the human imagination, and, more importantly, the next 200 years of assimilation will also be the largest and grossest "chunks" of assimilation yet, perhaps culminating with the total and complete knowledge of every bit of rhyme, reason, cause and effect of the human genome. Chronosomatics also shows us that metabolism (equal doses of creation and destruction) has been steadily becoming the new and eventually predominate operation of the human imagination. Therefore there is a strong pluralism within the operation of the human imagination today as well.
Are there thus some things within the last 500 years architectural history that relate to the notion of an assimilating architecture? Is there something about the present state of architectural affairs that points to an assimilating and/or metabolic architecture? For example, is the high eclecticism of the late 19th century one form of assimilating architecture? Is Le Corbusier's Purism akin to assimilating architecture in the extreme? Is the current widespread/global land development precisely a continuation of the assimilating process begun by the likes of Christopher Columbus? Will humanity, 200 years hence, have come extremely close to assimilating (for better or for worse) every square inch of this planet?
Personally, I think the answer is yes, but that's not the worst of it. After assimilation ceases to be a major element within the operation of the human imagination, humanity will spend 500 years working under the influence of an almost purely metabolic imagination. Imagine living on Earth when pretty much everything thought and done is create and destroy, create and destroy, create and destroy. . . . .
Thom Mayne on Charlie Rose
Morphosis architecture represents architecture well, but I don't think Mayne on Rose represented architecture well at all. The times when Rose "had no idea what he (Mayne) was talking about" are when Mayne didn't honestly answer the question. For example, when Rose asked what motivates Mayne's design now, Mayne couldn't give an honest objective answer. Instead, Mayne, after some silence, gave ethereal blah-blah. Granted, it was just that type of stuff architects are used to hearing at design juries among themselves, but that does not make it a good answer.
Thom Mayne on Charlie Rose
First of all, presenting a sound-bite answer is not the issue here, especially since Rose gave Mayne a whole hour. Rose's question contained some leads, "is it politics?, is it style?" (I don't remember all the exact words), and given the question, I would have given the context of where I see Morphosis within architectural history, and then explained what the Morphosis design approach sets out to accomplish. I can't answer what Mayne would say himself, but that's the way I would have approached an answer to the question. What I thought after I saw Mayne's hesitation and then heard his answer is just how afraid and subsequently unable architects are at talking about style. But, more to the point, architects are afraid to discuss their motivation because a lot of the motivation (especially for Morphosis) is about creating a certain style.
style 1 : the way in which something is said, done, expressed, or performed
The notion of style in architecture has been so debased by Modernism's reaction to eclecticism that architects now don't even know how to talk about it.
07120501 Girard Collage site plan 2389i02 b
07120502 Girard Collage model 2389i03 b c
07120503 Girard Collage perspectives axonometrics 2389i04
where's the avant garde?
Get a notion or idea
that most will resist,
and chances are
that it's avant garde.
13120508 IQ08 composite plan data 2170i40
14120501 Ury House 1100x550 plan orthagonal /domestic 2090i00
14120501 Marta Badiola OVER WRITE ::: Re-habitar el Barrio del Pilar Madrid
16120501 GAUA 101 model work 2457i04
18120501 GAUA22 St. Peter's Square Danteum Goldenberg House Wall House 2 Parc de la Villette Follie Capital Park West Was Wagner 001 CCTV I. Kahn Collagio Complex Religious plans placed unedited 2429i330
18120502 GAUA23 Ury House 5233 Arbor Street Leicester University Engineering Building House VI Parc de la Villette Follie Capital Park West Was Wagner 002 Dominican Fortress NeuHaus 10 der Künste plans placed unedited 2429i331
18120503 GAUA24 Mount Pleasant Guggenheim Museum Vanna Venturi House Silent Witnesses Zany House 001 Was Wagner 003 Mosque Q Maison l'Homme + Wall House 2 plans placed unedited 2429i332
18120504 GAUA25 Monument to Friedrich the Great Houses Under a Common Roof Salk Institute for Biological Studies Ridgeway House Zany House 002 Danteum x5 House of Shadows Bye Mat-Slab-Blob Complex plans placed unedited 2429i333
18120505 GAUA26 Maison Dom-ino Farnsworth House Erdman Hall Atheneum Wexner Center for the Arts Ur-Ottopia House Stoner Food Resturant ASouq 001 plans placed unedited 2429i334
18120506 GAUA27 Whitemarsh Hall Kaufmann Desert House Fisher House Housing for La Villette Green Enfilade House Maison Millennium 001 Hurva Dormitories ASouq 002 plans placed unedited 2429i335
18120507 GAUA28 Philadelphia Museum of Art Baker House Carpenter Center for the Visual Arts Urban Components Westchester House Palace of Ottopia Gooding Trice House ASouq 003 plans placed unedited 2429i336
18120501 Mecanoo Villa on the Lake Lechlade
18120502 OFFICE BBP Brewery Brussels