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The bubble burst
By Esther Zandberg

It was a good year, 2008, for international architecture, maybe too good. Just like the mortgage and stock market businesses, in architecture it seemed anything was possible - just because anything was possible. The sky was no longer the limit.

At any moment, another skyscraper, with an even more outlandish design, entered the competition to soar the highest at the whim of another uber-architect, as much as the latest computer software permitted.

Just months ago, the year was looking like a peak year of a decade-long glamorous party. Professional journals and architecture columns were starting to pull out the superlatives to summarize the year. Then the financial crisis hit and scrambled the cards. The architecture bubble burst. In view of the fragments, who wants to choose some blob as building of the year? Architecture has its own sense of humor.
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Much has been and will be said about the victims of the collapse and those responsible for it. Both sides include those who did not tire of applauding the bubble of showy architecture, as if they were a free-floating fan club. Just months after the Olympic Games in China, whose contribution to the architectural bubble was especially generous, it seems that many would be happy to rewrite history and erase some of the delirious praise lavished on the Olympic stadium in Beijing, with not an eyelid batted over the $423 million spent on it. That is not an endeavor that tops the list of contemporary humankind's most vital and urgent needs. The stadium, poetically referred to as "the Bird's Nest," as if it were made of twigs gathered in a field, is just an example.

Every report on the artificial, palm-tree islands in Dubai, perhaps the most anti-ecological act in the world today; every cry of awe over one more deluxe residential tower in some international city, such as Tokyo or Tel Aviv; the thundering silence over the $450 million museum on Washington D.C.'s Pennsylvania Avenue, a museum of journalism actually, which opened last April; every bow to another delirious architectural blob bouncing around a computer screen, and looking for justification for its construction, added hot air to the bubble.

Well-covered events such as the delusional exhibit "Performalism: Form and Performance in Digital Architecture" several months ago at the Tel Aviv Museum or the architecture biennale in Venice, celebrating wild ideas, extended the boundaries further and expanded the bubble with quasi-intellectual theses.

The decade's architectural banquet started officially on October 19, 1997, the day the Guggenheim Museum in Bilbao, designed by Frank Gehry, opened. It "is the most wonderful building in our time," declared Philip Johnson, then the guru of the architectural world. It is "the miracle of Bilbao," said the front page of The New York Times. And soon every city around the world, however remote and poor, from Denver to Cincinnati to Jerusalem, began to fantasize about its own Bilbao, as if imagining the god behind the machine.

Bilbao gave architects a new status. Its architects became the new cultural heroes on high, who looked down on the world from the window of the plane on the way to another Bilbao. And as The New York Times architecture critic, Nicolai Ouroussoff wrote recently, "serious architecture was beginning to look like a service for the rich, like private jets and spa treatments."

From the bubble of the Bilbao era it was possible to believe mistakenly that around the world only luxury residences, high-end boutiques and offices, state-of-the-art stadiums or impressive art museums were being built. Too little was reported on what was going in the poor neighborhoods and in conflict areas. The architectural world tightly maintains the disconnection between architecture and society and politics. "Social" ventures such as schools, hospitals or public housing, the symbol of modern architecture in its heyday, were not making headlines, and the Bilbao architects did not find time for them. Such ventures were not able to materialize, says Ouroussoff, in a semi-apologetic end-of-the-year article. The question of what interests lie behind this distorted world agenda did not become a top priority.

The British critic Deyan Sudjic did stick a sharp pin in the bubble of flashy architecture in his book, "The Edifice Complex: How the Rich and Powerful - and Their Architects - Shape the World" in which he unhesitatingly pointed out the connection between architecture and tyranny, wealth and power.

The financial crisis deflated most of what was left. But there is no rejoicing. Many in the industry were hurt and will be hurt by the sweeping collapse. Architecture firms that swelled during the heady days of euphoria in the global market are now downsizing, and doing so in Israel, too. Commercial projects are being postponed, and public ventures and cultural projects dependent on donations are being frozen. The first victims are the salaried workers, the weak link, who are joining the ranks of the unemployed.

Architecture itself, in contrast, has a chance of coming out of this reinforced. After years in which the field acquired a fatty spare tire and excesses and space became frighteningly expensive, perhaps the field will finally revert to the right dimension and the right track, even if it is a default option.

There's no dispute that 2008 was the year of green construction and sustainable architecture. This is a new and necessary track, as is social and political awareness. The construction industry plays a substantial role in the global ecological crisis, in high energy consumption and the pollution it generates. Now, in hard times, it is fitting for the industry's leaders, the Bilbao architects, to show the way. In so doing, they will atone for past sins.

In Jerusalem a seminar organized by the Rothschild Foundation and chaired by architect Ken Young, a pioneer of international green architecture, will take place at the end of the month. It will be devoted to "green design: from theory to practice."

Perhaps this will also be an opportunity for architecture in Israel to embark on a new path.
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