אדריכלות ישראלית

Architecture of Israel #

118

August

2019

Architectural Offices

page

english readers

Avi Dagan, Ami Ran

The argument regarding the extent to

which art is intrinsic to the architectural

profession is not new. However, with

computer proficiency today considered a

main criterion for employing architects,

without really considering their creative

capabilities, the crucial, balanced ratio

between need and adorn is at risk, and

with it, as strange as it may sound,

the attractiveness of the profession.

Until recently, one of its most appealing

features was the shared creativity in the

intimate studio.

Hence, before computers took over

our lives, an architect’s office looked

like a stimulating curiosity workshop,

with impressive drafting table, tall

stools for sitting/standing, compasses,

“sophisticated” rulers, colored pencils,

knives, smelly glue, sketching paper and,

primarily - the expensive rapidograph

that requires the gentle handling of an

operating theater.

In the past, employees who spent their

days in front of a screen were considered

“nerds with glasses”, while the “real”

architects were busy drawing complex

buildings on sketching paper using

“primitive” pencils.

Although computers easily produce no

less complex buildings, many of us are still

prepared to travel to the ends of the world

to stand next to a work by one of the old

masters, who are about to give up what

food for labor

the transition from the large drafting table

to the small laptop

has remained of this desired profession.

One of the reasons for this profession’s

desirability, especially on the part of young

people, is the romantic aura innate to an

environment of the creative artist studio.

But the procedure has passed whereby

one sketches one’s vision with a thick and

soft pencil, “surfing” on paper as if it was a

sea wave, allowing a moment for thinking,

trying and hesitating before reaching the

excited moment of revelation.

Brain stimuli that used to orient hands

are replaced by invisible pulses operated

by a mouse lacking both tail and soul,

responding to unseen algorithms that

calculate representative parameters and

boring constraints at demonic speed.

There is no doubt that a machine-woven

carpet is more accurate than a hand-

woven carpet, hence, the value of the

latter is probably far greater, due to its

emotional value of creation. In order to

understand what makes it so, one can

compare an industrialized plastic bottle,

for instance, with a bottle produced by a

glass-blower.

While the former is precise to banality,

the value of the latter stems from the

complexity of its production process,

required professional knowledge and, in

fact, the greater difficulty of production.

The reason is that while a machine

discharges scores of bottles per minute,

manual production involves harsh working

conditions and, one might say, the value of

an artwork is appreciated according to the

difficulties, knowledge and skill necessary

for its production.

One may ask though, why industrial

production has almost no value in the eye

of the beholder, despite the fact that the

way to achieving its sophistication is long

and tiring. The simple explanation is that

machines have no feelings, sensations

or thoughts – all of which are necessary

to create a romantic dimension. And not

without reason. Romantic relationships

are created via an emotional reference

between people, the event, and the

location at which it takes place.

Due to the efficiency intrinsic to the

architectural office, which today functions

in an environment rich in software but

poor in emotion, there is a real need to

compensate for the neglected social

aspect. This is primarily due to the

transition from team creativity to coping

alone in front of the screen.

And it is not without reason that high-

tech offices in general and architectural

offices in particular make an effort to

create spaces reminiscent of the home

environment, investing in recreational

activities like a gym, seating corners and

even a bar, in order to reinforce a sense

of togetherness.

Computerized design, which completely revoked the need for huge drafting tables -

until not long ago the symbol of any self-respecting architectural office - significantly

changed the architectural firm character. The new office primarily manifests in the

transition to small computer stations, making the drawing technician and all entailed

services superfluous. In reality, unnecessary spaces are utilized to improve social

interaction between architects who now sit alone in front of the screen, usually with

earphones in their ears, and detached from the environment.

The question is: How does this affect office conduct in general, its architectural product

and, in particular, the changing nature of the architectural profession?