אדריכלות ישראלית - גיליון 127

designers paint אדריכלות ישראלית Architecture of Israel # 127 November 2021 | | 94 "I felt I had to produce durable products that would last forever - products you don’t throw away as soon as they lose their glamour; timeless art independent of technological progress or fashion. And for the past ten years I have reversed the order of things, and turned to producing art for its own sake. As a creator I feel I need recovery from the industrialization processes, and I look forward to the day when I can afford to turn off the Solid software forever. "Instead of 'practical' products, I sculpt light fixtures from paper and branches that I carve with hand tools, as I used to do as a child. "In my opinion natural wood with its one- time shape and characteristics is superior to reusable computer products which are measured in terms of planned durability, fashion or marketing design. The modern space is full of industrial objects, precise products that are seen in any home. Therefore, any product that reflects the lines of nature and contains the uniqueness of handmade, may balance the industrialized space, giving it a human dimension with a soul, and sometimes even an incarnation of souls that fits well with the prevailing fashion for vintage. "I am currently in the process of mental rehabilitation from the mass production, which I leave to oligarchs who make a living at the expense of cheap labor in the Far East. As an industrial designer, designers paint yoav baitner - the moon and the penny Rachel Ben Aharon creative freedom lies in the pressures of constraints and compliance with the market demands. As a one-time lighting fixture designer, I am exempt from meeting any commercial goals and I can create anything I imagine. The manual work gives me the joy of creation, which replaces the computer that I now approach reluctantly, ‘because I must continue to make a living’. I feel that the simpler the tool, the better the hand, and the greater the emotional satisfaction. "I select each piece from the many sketches left in my notebook. Sometimes the shape of the branch leads to a function, and sometimes I go out looking for a branch that will fit the function. I try not to repeat the same idea, to challenge myself technically and conceptually every time again. The idea is to take a discarded pruned branch and breathe new life into it. The works are built from the search for a show of organic processes, precisely in an age where textures, geometries, shapes, express an accurate calculation of cost-effectiveness. This is exactly what I'm trying to break away from. "I live in an old house in Mazkeret Batya, which also serves as my studio. The gallery and wood workshop are located in the shed outside, without machines, apart from tools like one could find two hundred years ago. The connection with slow creation that takes time and does not rely on the capacity of the machine, allows me to refer to the work as an attempt to create an experience. I scan shapes upon shapes in my sketchbook, looking for the next show. I have no interest in series, or efficiency, or cost benefit considerations, only in the challenge facing me: How to turn the selected sketch into an accomplished work. "I see in my work two challenges: One is to identify and maximize the random natural show; and the other is to succeed in inspiring through the imagination a new combination between form and function. I aim for the disposable shapes to emerge in the light and make prominent the relationship between the airy volume created by a thin, twelve layers paper, against the twisting skeletal wooden ribs. "The idea reached its peak during the first Corona lockdown, which left us at home and allowing nature to approach unhindered. Then I created The Limping Moon and The Great Jellyfish. Each one fills a room with its presence - in both there is a critical statement about the disruption of world order, reminding us to look less at the penny and more at the moon." Product designer Yoav Baitner specialized in the field of plastics for about thirty years, until he lost his drive to design fast and automatic mass products. After designing tens of plastic high- tech and low-tech products, such as toolboxes, cabinets, toys, home and garden products, he came to the conclusion that industrialized products have no soul. One bothers about the development - research, discover, calculate and test - but everything is lost as soon as the machine takes over. Soon, the product loses its value, and is replaced with a newer generation, then forgotten, like cars, the phone in its various incarnations, and like the computer, that by the time you finish paying for it, loses its value.