A Quote by Eva Zeisel
I think with my hands. I design things to be touched-not for a museum. A piece is ready when it has the shape of something to cherish.
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I'd like to design something like a city or a museum. I want to do something hands on rather than just play golf which is the sport of the religious right.
The place has had a super-conflicted relationship to its mission. In 1956, it opened as the Museum of Contemporary Crafts. Then in 1986 it had a midlife crisis and changed its name to the American Craft Museum. Then in 2002 the name changed again, this time to the Museum of Arts and Design. Maybe in 2025 the place will be called the Designatorium. The big problem with a museum of craft and design is that all art has craft and design.
She put out her hand and touched his forearm, as she would have touched some piece of porcelain or sculpture, just for the sheer animal pleasure of feeling its shape and curve beneath her fingertips.
I think design means, for me, almost when man, back in time, decided to do something conscious. You know... to shape something and make something different from just using things that were lying around. So whoever designed the wheel were onto a good thing.
People think that design is styling. Design is not style. It's not about giving shape to the shell and not giving a damn about the guts. Good design is a renaissance attitude that combines technology, cognitive science, human need and beauty to produce something that the world didn't know it was missing.
I think when a teacher says that you're ready for something, it means you're ready to learn it. It doesn't always mean that you are completely capable of doing everything that's inside the piece.
I think about museums often. There are things that I want museums to do that they often don't. For me, I like it when there's a system within the museum that can continuously change - whether it's a museum that is nomadic or one that's designed so the building can shape-shift. I like restless spaces, and I want to be engaged.
Craft is not a category; it's a means. The folks running the museum [Museum of Arts and Design]are sharp, and they know this, but they are in a bind.
Just stay ready. Stay in shape and then you don't have to rush to train before the movie starts. I'll show you my abs later because I’m in shape. But that idea, if you stay ready, you don’t have to get ready.
It is a question in that case of breaking up one piece of art, and whether that piece of art can be as best as possible put back together. So it's an argument to say, maybe that's one of those instances, like the bust of Nefertiti, I think that should be given back [Egyptian piece currently in Neues Museum in Berlin]. It's one of those pieces you look at and think that would probably be the right thing to do.
When we think of design, we usually imagine things that are chosen because they are designed. Vases or comic books or architecture... It turns out, though, that most of what we make or design is actually aimed at a public that is there for something else. The design is important, but the design is not the point. Call it "public design"... Public design is for individuals who have to fill out our tax form, interact with our website or check into our hotel room despite the way it's designed, not because of it.
Wright's building made it socially and culturally acceptable for an architect to design a highly expressive, intensely personal museum. In this sense almost every museum of our time is a child of the Guggenheim.
I don't think the ebbs and flows - get in great shape and then get out of shape and then see if you can get back into shape - is a good thing. So I prefer to keep my arm always ready to go.
It doesn't matter what you do...so long as you change something from the way it was before you touched it into something that's like you after you take your hands away.
We are hungry for things that have touched human hands.
There are no happier people on this planet than those who decide that they want something, define what they want, get hold of the feeling of it even before its manifestation and then joyously watch the unfolding as, piece by piece by piece, it begins to unfold. That's the feeling of your hands in the clay.
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