A Quote by Roy Lichtenstein
We're not living in a school-of-Paris world, you know, and the things we really see in America are like this. It's McDonald's, it's not Le Corbusier.
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I remember how, when I lived in Paris, there was a McDonald's, and I'd always see Americans eating there and think, 'Why do they come all the way to Paris and eat at McDonald's?'
The problem was Le Corbusier was a genius and an enormous artist, but he tried to resolve problems to which there is no solution. So the idea to demolish the centre of Paris in order to adapt it to the car - he drew it! - is something not even the most bloody dictators conceived.
My first architectural project I did, I must have been fifteen, was for neighbors across the street, a couple of school teachers, and I designed a house for them. I didn't know anything about Le Corbusier or anything like that, but it ended up being a very cubistic kind of house. I always wanted to be an architect.
One time, my ex-boyfriend and I were in Paris, and we went to this really fancy dinner. We weren't full after, so we walked from the schmoozy restaurant to McDonald's, and we finished our date at McDonald's. It was awesome.
If you're just grinding up hamburger at McDonald's, I see that as a bit of an affront to living things. You're not really honoring the life.
Instead of using the machine as a metaphor for architecture, as Le Corbusier did, I use the human body. I want the public to know that it's them I'm designing for.
When I was 16 and on a tour of Europe, I fell in love with Le Corbusier's Notre Dame du Haut chapel in Ronchamp, France. I'd quite like to live in it.
I first decided architecture was for me when I saw Le Corbusier's designs in a Japanese magazine in the 1930s.
I don't know how you prepare for something like that. I cannot imagine living in a fishbowl like that. I don't live here so I don't know it will be that bad anyway because I live in Paris and we don't have that sort of phenomenon there. So I don't know, we'll see what happens.
I don’t know how you prepare for something like that. I cannot imagine living in a fishbowl like that. I don’t live here so I don’t know it will be that bad anyway because I live in Paris and we don’t have that sort of phenomenon there. So I don’t know, we’ll see what happens.
I grew up in a time when Eames and Le Corbusier and Frank Lloyd Wright and other architects were putting their furniture and objects on the market. You could buy some of those objects on the open market. Eames was a huge influence on all of us in school.
I like to be in New York. Le Corbusier described it in the 1930s as a 'wonderful catastrophe.' It is still a wonderful catastrophe, but inspiring.
If you are going to be serving a living thing, you have to honor that living thing with some kind of care and thought and preparation to rationalize the taking of that life in some way. Where if you're just grinding up hamburger at McDonald's, I see that as a bit of an affront to living things.
Paris is a sum total. Paris is the ceiling of the human race. All this prodigious city is an epitome of dead and living manners and customs. He who sees Paris, seems to see all history through with the sky and constellations in the intervals.
When I started my own practice, I was criticized, not because I was doing product design but because, like Le Corbusier, I was insisting on paintings in all of my buildings. I would paint wall murals in the houses that I designed, just as he did in the '20s and '30s.
For me, the experience of not living in America was recognizing that I was American. You don't think about yourself being so culturally encoded, so nationally stamped; you don't discover that when you're a tourist for a month. You see how you reflect the place you're from. When I came back from living in Europe, I was very struck by how I didn't see America as the center of the world in the same way. It's very easy to slip back because America is so powerful. But any place you live is the center of the world.
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