The only time we have written records is when the architect wasn’t actually there.

　　Perhaps the architect was away on business and had to write out instructions and send them to the shop.

　　And another thing to think about: what effect do you suppose this approach would have had on innovation?

　　I mean, since the hired artisans had been trained by other artisans, they tended to be trained to use traditional styles and techniques.

　　So if you’re a master architect, uh, you’ve developed your own style.

　　Say you’re calling for certain detail in the building you’re designing, right?

　　And say this detail is different, purposely different, from the established tradition, the established style.

　　Well, most likely when the hired artisans would execute the design, rather than follow the intended design, they would stick with the more traditional style that they were familiar with.

　　Workers would have to be supervised very closely to prevent this from happening.

　　Otherwise, as it often happened, there goes the designer’s style and creativity.

　　唯一會有書面記錄的時候是當建筑設計師本人不在的時候。

　　也許這位設計師出差去了，必須把指令寫下來然后寄到工作室去。

　　另一件要思考的事：你們認為這種方法會對創(chuàng)新產(chǎn)生什么影響?

　　我是說，因為受雇的工匠是由其他工匠訓練的，所以他們往往被訓練成要使用傳統(tǒng)的風格和技術。

　　那么，如果你是一個建筑大師，而你已經(jīng)發(fā)展出了自己的風格。

　　假設你要求在你設計的建筑中加入特定的細節(jié)。

　　假設這個細節(jié)與眾不同，而且故意設計得和現(xiàn)有的傳統(tǒng)，現(xiàn)有的風格不一樣。

　　當受雇的工匠按照這個設計施工時，他們很可能會堅持用他們熟悉的更傳統(tǒng)的風格，而不是按照擬好的設計來施工。

　　必須非常緊密地監(jiān)督工人才能防止這種事情發(fā)生。

　　否則，通常會出現(xiàn)的情況的是，設計師的風格和創(chuàng)意會悄然消失。