A conference for architects has just been held in Madrid to discuss the crisis of the professional architect. They have distinguished the traditional and contemporary way of being an architect. What is traditional? From the epic architect who appears in The Brutalist, where Oscar is on his way. A man who gathers himself, who sincerely dedicates himself to work, who defends ideas with great firmness and who can become magnanimous and histrionic. Professional, understood as a trajectory of accomplishment of the personal occurrences and creations of a character. When the ethical and social value of architecture is blinded by the obsessive desire to search for the beauty and concepts of the character. And that is why the architect is a profession that feels distant from the problems of society.

Why the architect’s service is not valuable for social inclusion is an age-old concern among professors. Why while the need for a plumber in a house is understandable, the need for an architect is considered non-mandatory. Why architects are not at the center of the contemporary housing crisis conflict as participants. And at the same time why the architect associates himself with what “makes houses”, although he also builds squares, shops, health centers, art exhibitions, etc. Why the architect’s houses, because they can be too strange, are represented with wrong walls. Prejudices, useful for the cinema.

If we were to make a film portrait of the contemporary architect, we would put it first in the working group, which, in addition to aesthetic interests, will think about energy expenditure in the production of materials and recycling options, such as which neighborhood texture will support the new construction that is designed. In order to respond to today’s reality there are so many layers to consider that escape from architecture but have to be put in relation that there is no role for the figure that Adrien Brody could represent.