If the identity of the architect can be said to be the equivalent to that of a factory worker, then the conditions in the architect's office and the factory itself can be said to be comparable.

And if architectural production is tied to an ideology, rather than a brand, it makes little sense to address the office as a design problem, only from the point of view of isolated physicality.

The office is not just the chairs or walls, it is an immaterial construct and hierarchy. It is the road, as understood by the Tarantinoan martial arts master directing us towards the true road to success.

If the office has become a factory, if the problems of the office are partly immaterial, if many of these problems rely on fixed perspectives, I want to literally and organisationally change this perspective. This I call the big switch.

What is the switch? The switch is a continuous change of roles within the office. No employee is allowed to be specialised. One day you're working on one thing, and the next on another. The purpose of this is to learn, skills, of course, but more importantly the case of the person next to you, what he or she does.

The switch, being a way of working, has, just like the road, no end. We switch identities within the office, in order to build a an awareness of shared perspectives.