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Good morning.
From the faces of the people that I know here it can be said
that this is a home crowd.
You want me to talk, to explain to Uri what sketches are? ok.
[Architect] Ram Karmi passed away, yesterday.
I saw him, not just me, I saw him sit by a massive wooden table
with a pile of silk paper, perhaps 8 centimeters high
Sketching with coal
Someone comes in and says "Rami, listen, they already poured it."
You can see in this sketch that there's something not nice here
something obsessive.
It repeats and repeats and repeats,
and each time in a slightly different variation,
it refers a little to what you said, something which doesn't gets there,
something not in its place.
That's just for Rami.
Many like to hate and criticise Ram Karmi
I know Rami in my own way
And I learned to love him
Despite of the criticism one can pass on his buildings.
So it is best to remember him positively.
And thanks to our Uriel for something classic.
This is.. not neo-classic, not pseudo-classic,
Classic.
It's a type of thought and understanding of the world
which precedes our period by a bit.
And our period, in a somewhat arrogant and shallow manner
Tends to belittle what was done until the year 0 AD.
I remember when I arrived at the architecture faculty a the Technion,
I was the son of an architect, we came from a different place
And in the first lesson they explained to us that an architect doesn't need to know to draw
And that Le Corbusier also didn't know how to draw
I immediately understood that there's no point even discussing it
And I quietly continued with...
This is Le Corbusier when he was in the east, when he was young
He knew how to draw.
In some museums he's exhibited as a painter, not of the highest order, but still.
Good. So this classis. Now I'll come off as less modest.
Let's say that's me with the coffee in Athens.
And what's clear, what's clear is that
It's about the ability to assimilate
As a first act, classis culture talks about the ability to feel
the storm entering inside you.
Or even which threatens you directly, physically.
Lotherio who would tie himself to the mast of ships going out to sea
To draw the storm at sea.
This ability to internalize the landscape
The power of the landscape, this story that in Greece they created
The theatres that the landscape is contained or containing in, a reflection of yourself
In Epidaurus I found myself in the same point
Where other architects sat.
Somehow it's a classic common point, we all sit in the same point.
This thing, with the ability to see
To absorb the world
We thought in Bezalel that it's very important, and made the attempt
A few times in the first year, to take students to a kind of
Kind of space, to sit them down,
To make them just relax, and take their time,
to be quiet, put down the disquiet and just try and see.
[Ami Shinar] Dani, that's like the work of Michal Rovner
That's the work of Michael Velma, he was supposed to be here, he was their tutor,
He sat them down in that circle.
The title of my talk, I called it Five Minutes of Dani Havkin.
There was a man called Dani Havkin.
One day as I was sitting in my studio with two friends
Dani Havkin, who was then the faculty dean at the Technion, walks in,
Puts a leg on the table and he started to talk to the horizon.
He started talking about Mozart.
He said Mozart didn't write music for more then 5 minutes consecutively.
His explanation [was] that the amount of energy Mozart needed
to store in order to write was so big that he couldn't bear the power of it
For more then five minutes consecutively.
And then Dani Havkin said that most of us can reach that level
of energy for a split second only.
This is the difference between Mozart and the rest of us mortals.
We're talking here about a strategy for building a high level of concentration
With an epiphany, a moment of revelation or glow
This is a letter by Mozart, at the bottom of it you can see such a moment
You can see this accumulation
In music it's very very clear
In architecture in recent times we are a bit disoriented
Recently is actually quite a long periodn, since 0 AD
This accumulation Mozart builds
as a structure, by instruments, as you can see
You can call this a sketch, it's exactly... He also feels the felt tip and the spread of the ink
You can see an image by [Moshe] Kupfermann which talks about accumulation
And you can see a direct link between what Mozart and Kupferman did
Such an accumulation that he also stops at some point
Which has this fragility
Where according to Alberti any addition or deletion reduces
Ok, this is already... This we can call a sketch.
For me a sketch is not the
It's not the object, it's not the artifact.
A sketch is a testimony to those moments of utilizing that energy
Therefore it can be expressed in different means, including digital tools
Here you can see the strategy of building architecture as acccumulation
And you can say that's
A requiem, or a Kupferman, or the Parthenon, like being inside it,
With no ability of being outside, being inside it all the time
You can see that such a strategy can be created by using a kind of field
In closing I would like to say that
Our contemporary period is very seductive
I did this sketch with Michael Velma in 2003, it's a competition we took part in
But I want to show you today something that no one has yet seen
Which I think that for me is the sketch.
Thank you.