How we work
Architecture with people in mind
Live in balance
As an architect, I have never been a slave to formulas and conventions of line, shape or rhythm that promise classic esthetics, nor do I rely on design trends or programs that help with planning. My work as an architect is more akin to freehand drawing that does not require graphic perfection, which to my mind is not human enough.
The meaning of materials for me: As an architect, materials and textures have great meaning, the entirety creates the feeling; the right combination generates the desired result. From my familiarity with carpentry, I have developed a strong affinity for natural materials, like sand, wood, stone, natural metals and clay. All these materials are taken from the earth, and even after they are processed and shaped, they don’t lose their characteristics and do not become artificial.
At the same time, I take care to learn about new technologies and systems that enhance the building process. I choose to use them when they feel right for the building being planned and when they help as ancillary systems for operation and control.
Whenever I am planning for someone, there is a cell in my brain that belongs to him
My preference as an architect is for the client to be totally honest with me about his dreams and needs. It’s the best way for us to work as partners, and it’s the only way we can work together to produce a result he’ll be pleased with. Once I truly know what he wants, I can be sensitive to his feelings and better understand the quality of life that I am supposed to create for him. I gain his trust as he comes to understand that he is truly important to me and interests me.
I feel that as long as I am working with someone, there is a cell in my brain that is his.
After I listen to the client and understand the lifestyle or work styles of the people whose home or building I am planning, only then do I look at a blank page and start to translate the idea into a blueprint.
I always explain to my clients what is going to happen at each stage. I allow them to choose from among the options, although of course I explain precisely what I feel regarding the appropriate planning and design. I try to illustrate to the client the circumstances that each given corner in the house will create for its beholders and occupants – visually, sensually and emotionally. When the client understands all of the aspects and ramifications of a design, he can make confident choices.
The first sketches are rather free-form, portraying the functions, the locations and proportions of a space. Only at a later stage do I insert the mathematics and geometry of the dimensions, sizes and shapes, working until our souls — that of the client and my own — are calm and content.
During the formal profiling stage I give answers to substantive questions: Where is the house located? What is in the vicinity and neighborhood? What will the home be affected by, and what do we see as the desired effect the home should have on its surroundings? What will give its owners pleasure when they leave and come home, when they approach it or when they think about it while they are at work, on vacation or anywhere outside it? What will give them pride, pleasure, yearning and joy? I aim to answer each of these questions as an architect and artist.
My work is powered by my belief that a home must reflect its owner’s tastes and preferences
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The artist is entwined in me like a scarlet thread
I have always drawn and painted; it was my favorite mode of self expression. I started to draw at age of 5 without any guidance or pressure. I drew only because I wanted to and I have never stopped.
I discovered oil paints at the age of nine, when I went to buy tubes of gouache paint that I was short of. When I got back to the paper and started to paint, I found that one paint dispersed oil around it and the others formed water bubbles on it, and that it did not dry quickly and could be further smeared and worked with. I quickly purchased more paints like this and then I was told that they did not dissolve in water.
Thus I discovered on my own the potential of paints that are slow to dry, allowing me to mix and lace one paint into another, forming blends and softness. Many years later, when I read about how to work with oil paints, there was little that I didn’t already know. I continued to paint throughout my youth and after I was discharged from the military I had a solo exhibition at the Soldier’s Hostel in Tel Aviv.
Painting has been threaded throughout my adult years, too. During my architecture studies at the Technion, I painted incessantly and won first prize in a painting competition of held among Technion and University of Haifa students during my first academic year.
Upon concluding my professional training as an architect, I continued to exhibit at various venues. In 1991 I also spent about two months at an academy in Vienna with the great painter Erich Brauer, where I painted intensively in the Fantastic Realism style.
Since then, I have continued to paint. I like Magritte’s absurd world, which has greatly influenced me, as well as painter Samuel Beck. I love to paint realistically but in strange contexts that sometimes look impossible and intriguing and pique one’s curiosity.
In my paintings, I immortalize on canvas my memories, desires and impressions, while constantly relating to nature and the landscape of my homeland. I am not a painter of protest, anger or criticism.
In my everyday work as an architect, I integrate the free creativity that manifests itself in painting with the mathematics, analysis and rationalism that dominate my inner world. It’s a fruitful and balanced combination.
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