A Quote by Neri Oxman
I object to the hegemony of form in contemporary architecture. We have very advanced technological tools, but ultimately, we create buildings exactly like we used to before: We send the drawings to an engineer and let him struggle with figuring out how to build it.
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I'm trying to discover - invent, I suppose - an architecture, and forms of urban planning, that do something of the same thing in a contemporary way. I started out trying to create buildings that would sparkle like isolated jewels; now I want them to connect, to form a new kind of landscape, to flow together with contemporary cities and the lives of their peoples.
After World War II great strides were made in modern Japanese architecture, not only in advanced technology, allowing earthquake resistant tall buildings, but expressing and infusing characteristics of traditional Japanese architecture in modern buildings.
Buildings in modern cities have lost their metaphoric aspect. Much contemporary architecture is very fragmented and busy on the outside. It's like a skin or a skull, but you don't know what's inside.
I found filmmaking to be a very practical art form. It's about figuring out how to create within the very practical limitations/constraints of time, money, and large groups of collaborators.
When I was in architecture school, rather than giving us drafting boards and t-squares and lead pencils and stuff they gave us all the same tools that places like Digital Domain and ILM used to make features films or special effects. They gave us all these digital tools like Alias and Mya and Soft Image and all these kind of high-end computers, so I came out of architecture school knowing how to use all that stuff. And I started making short films at night.
In this tour around the world I was not interested in contemporary buildings because I had seen contemporary buildings actually until they came out of my ears in a sense.
If there is no idea in the drawing, there is no idea in the constructed project. That's the expression of the idea. Architects make drawings that other people build. I make the drawings. If someone wants to build from those, that's up to them. I feel I'm making architecture. I believe the building comes into being as soon as it's drawn.
Why should a financial engineer be paid four, four times... to a hundred times more than the, uh... real engineer? A real engineer build bridges, a financial engineer build, build dreams. And when those dream turn out to be nightmares, other people pay for it.
It is very difficult to build contemporary architecture in Italy
If you do all that work of figuring out exactly how writing is done, then it's available to you at anytime, and you can build on it. It's like the difference between shooting one hoop and having it go in by accident and saying later, 'I shot a basket,' - and practicing so much you can do it whenever you want.
I used to read more when I was a kid than I do now. It was all sort of fuel for the fire to teach you how to think and how to make things and it informed the architecture that I was doing. It's better coming in with that history and that kind of knowledge and depth of understanding of humanity that is very important for building buildings - for understanding people and how they should live and how you could make your lives better and stuff like that.
The reason I like my job is that I have this desire to create. I have this desire to create things and build things, and Google has enabled me to build and create things and to build products that are used by people all over the globe.
The power of imagination is incredible. Often we see athletes achieving unbelievable results and wonder how they did it. One of the tools they use is visualization or mental imagery… they made the choice to create their destinies and visualized their achievements before they ultimately succeeded.
Add to this cruelly delicate organism the overpowering necessity to create, create, create - so that without the creating of music or poetry or books or buildings or something of meaning, his very breath is cut off from him. He must create, must pour out creation. By some strange, unknown, inward urgency he is not really alive unless he is creating.
Even the West has known the architecture of empty space, whose object, for thousands of years, has been less to construct divine houses, than to create sacred places, to seize upon mystery and to immerse man in it-whether by raising the cyclopean pedestal that surrounds him with stars, or by hollowing out the sanctuary that wraps him in haunted night.
My very first records, I was very interested in how you get the particular quality you want out of it, and I began to learn about the engineering and aspects of production and things very early on. I got hands-on with the process and taught myself how to engineer, as opposed to just being a producer who asked the engineer to make it sound nice.
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