A Quote by Rachel Lambert Mellon
I always design a landscape with fixed horizons whether it be mountains or a stone wall around a 20-foot-square plot.
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I spent hours from 11 until 16 with Tottenham in the gym playing the ball against the wall. We played against the wall for an hour before we would have a match. Left foot. Right foot. In the square. In the circle. Above the line, below it. Chest control. Thigh control. Volley sideways.
So many today are worshiping in the mountains, big churches, stone and frame buildings. But Jesus teaches that salvation is not in these stone structures-not in the mountains-not in the hills, but in God.
The world is moving into a phase when landscape design may well be recognized as the most comprehensive of the arts. Man creates around him an environment that is a projection into nature of his abstract ideas. It is only in the present century that the collective landscape has emerged as a social necessity. We are promoting a landscape art on a scale never conceived of in history.
The strengths landscape architecture draws from its garden design heritage include: the Vitruvian design tradition of balancing utility, firmness and beauty; use of the word 'landscape' to mean 'a good place' - as the objective of the design process; a comprehensive approach to open space planning involving city parks, greenways and nature outside towns; a planning theory about the contextualisation of development projects; the principle that development plans should be adapted to their landscape context.
If you build - if you spend billions of taxpayer dollars to build a wall over, let's say, a mountain, if you build a 10-foot wall over a 10,000-foot mountain, and someone is determined to climb the 10,000-foot mountain, they're not going to be deterred by the 10-foot wall. It's a matter of common sense.
Australia has always put out some good design, particularly environmental graphics. I associate that with Australia, more so that a lot of other places. Whether that has anything to do with the landscape, who knows?
Baseball is part of America's plot, part of America's mysterious, underlying design-the plot in which we all conspire and collude, the plot of the story of our national life.
Writing a film is like building a brick wall. You have a plan, and you have the blocks. Then, somebody says, 'I think we'll take this stone out of here and put it over there. And while we're at it, let's make this stone red and that stone green.'
Romeo wants Juliet as the filings want the magnet; and if no obstacles intervene he moves towards her by as straight a line as they. But Romeo and Juliet, if a wall be built between them, do not remain idiotically pressing their faces against its opposite sides like the magnet and the filings with the card. Romeo soon finds a circuitous way, by scaling the wall or otherwise, of touching Juliet's lips directly. With the filings the path is fixed; whether it reaches the end depends on accidents. With the lover it is the end which is fixed, the path may be modified indefinitely.
My outlines can be 10-20 pages in length and focus primarily on the physical active plot over the emotional plot.
When I design, I always design around denim. I think of designing as a lifestyle. I design for that career oriented girl who will be sitting at an office all day long, but is still going out and being social at night.
I left many different mountains but always the gods gave me a chance to go back. I was always going with a quiet foot.
Plot a murder, you're saying. But every plot is a murder in effect. To plot is to die, whether we know it or not.
A life best lived is a life by design. Not by accident, and not by just walking through the day careening from wall to wall and managing to survive. That's okay. But if you can start giving your life dimensions and design and color and objectives and purpose, the results can be staggering.
The ones [comedies] that I always liked, whether it's Terms of Endearment, Broadcast News, or Fast Times of Ridgemont High, they were all about two hours, or a little bit over two hours. With that extra 15 or 20 minutes, you can get to real character and you're not just stuck in plot.
If you build a 50-foot wall, you'll soon be confronted with a 51-foot ladder.
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