A Quote by Neri Oxman
I don't separate architecture, design, or culture. What's more important is a language of creativity that carries meaning.
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We don't have a good language to talk about this kind of thing. In most people's vocabularies, design means veneer... But to me, nothing could be further from the meaning of design. Design is the fundamental soul of a man-made creation.
Creativity is a central source of meaning in our lives...most of the things that are interesting, important, and human are the results of creativity...when we are involved in it, we feel that we are living more fully than during the rest of life.
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.
There's a very important aspect to all my work, now more than ever, which is tying the interior design and architecture with the art.
The essence of architecture is form and space, and light is the essential element to the key to architectural design, probably more important than anything. Technology and materials are secondary.
Mastering the art of asking questions is essential to creativity and innovation. A More Beautiful Question should be standard reading for all aspiring design thinkers as well an inspiration to those searching for a life of curiosity and meaning.
The thing that's important is not something called design; it's how you live, its life itself. Design really comes from that. You cannot separate what you do from your life.
Something I always wanted to do, to capture that later half of the '70s. It's like the early half of the '70s is still the '60s, in that there's still kind of a playfulness and inventiveness in terms of design and the things that were going on in the culture. The second half, it got much more commodified. It's possibly the ugliest era of architecture and clothes and design in the entire 20th century, from 1975 to '81 or '82.
Language designers want to design the perfect language. They want to be able to say, 'My language is perfect. It can do everything.' But it's just plain impossible to design a perfect language, because there are two ways to look at a language. One way is by looking at what can be done with that language. The other is by looking at how we feel using that language-how we feel while programming.
The theoretical recognition of the split-space of enunciation may open the way to conceptualising an international culture, based not on the exoticism of multiculturalism or the diversity of cultures, but on the inscription and articulation of culture's hybridity. It is the inbetween space that carries the burden of the meaning of culture, and by exploring this Third Space, we may elude the politics of polarity and emerge as the others of our selves.
In creativity the way will be found for subject to pass into object, the identity of subject with object will be restored. All the great creators have foreseen this turning-point. Today, in the depths of culture itself and in all its separate spheres, this crisis of creativity is ripening.
The more familiar two people become, the more the language they speak together departs from that of the ordinary, dictionary-defined discourse. Familiarity creates a new language, an in-house language of intimacy that carries reference to the story the two lovers are weaving together and that cannot be readily understood by others.
Vitruvius, the great writer, architect and engineer, identified in his famous treatise on Architecture that the three values essential to any work of Architecture were: firmitas, utilitas, and venustas; or firmness, utility, and delight. Firmness meaning well built, solid and resistant; utility meaning useful and functional, and delight meaning beautiful.
One way to think about what psychedelics are is as catalysts for language development. They literally force the evolution of language. You cannot evolve faster than your language because the language defines the culture of meaning. So if there's a way to accelerate the evolution of language then this is real consciousness expansion and it's a permanent thing. The great legacies of the 60's are in attitudes and language. It boils down to doing your own thing, feeling the vibe, ego-trip, blowing your mind.
It's sort of another innovation, probably a good innovation, of Western culture to separate the ideas between science and philosophy, but it's important to remember they weren't always separate realms of inquiry.
I started to begin to be interested in architecture and design when I was 14 years old, which was pretty early in life. And then I would start to look at architectural magazines and I eventually went to the school of architecture too, but one of the things I learned very early is that an architect should be able to design anything from a spoon to the city.
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