A Quote by Richard Meier
We think about project's public nature and how that can be enhanced, how the spaces we create can enliven the experience of being there.
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I try to just be open to what the next experience is and how it makes me feel, just reading a project, or trying to get involved with a project, or thinking about a project, and what particular emotional flavor that brings. To me, it's never really about planning the next thing, or the career arc. It's about investigating how I feel, from project to project, and finding things that I haven't explored and what that would be like.
With the rise of new technologies, media, and other cultural apparatuses as powerful forms of public pedagogy, students need to understand and address how these pedagogical cultural apparatuses work to diffuse learning from any vestige of critical thought. This is a form of public pedagogy that needs to be addressed both for how it deforms and for how it can create important new spaces for emancipatory forms of pedagogy.
I know "accessibility" is a term that's kind of thrown around wantonly today, especially with talking about visual media. But I think that the strength of comics [is how they] really allow you to transcend those last barriers between a reader absorbing the information of an experience, and a reader being able to project themselves into the [experience of the] people about whom they're reading.
Web publishing can create common spaces; it all depends on how we, the readers and sometimes the producers, react to technological change. If we sort ourselves into narrow groups, common spaces will be in big trouble. But there's no reason not to have common spaces on the Internet. There are lots of them out there.
Essentially what's going to determine how you succeed in New York is how people feel about the space, how delicious the food is, how they perceive the value and, most important of all, how they feel treated. My understanding is Stephen Starr is exceptionally good at all of this and his ability to create a transporting experience.
It was never just about painting everything white, I set out to create comfortable spaces - visually comfortable spaces. My mind always feels a little scrambled, so being in simple rooms helps me to think straight.
Spaces of liberation are, in a certain way, some kind of social spaces where people can not only get together and think about something else, but also act together. If you are thinking about an elemental solidarity, you are thinking about people acting together and taking decisions together, and thereby beginning to think about what sort of society they want to create. So, there is a need for liberated spaces; that is really difficult.
I think being shy or a little bit more mild-mannered is more how you treat people and how you go about your business, not necessarily how you dress or things of that nature.
Rather than just mimic processes in nature, I think we can harness the powers of nature itself and allow it to help us create. That, in a way is what the 'Dune' project is all about.
I'm interested in how we define things by how we choose to observe them, and how everywhere in our lives, and in every moment we experience, there are forces at work that we don't fully understand. Couple this curiosity with a love of portraiture painting, and that's how this project was born.
Architecture is really about well-being. I think that people want to feel good in a space... On the one hand it's about shelter, but it's also about pleasure. The intention is to really carve out of a city civic spaces and the more it is accessible to a much larger mass in public and it's about people enjoying that space. That makes life that much better. If you think about housing, education, whether schools and hospitals, these are all very interesting projects because in the way you interpret this special experience.
Nature is a brilliant engineer and builder. It knows how to create seashells that are twice as strong as the most resistant ceramics human beings can manufacture, and it produces silk fibers five times stronger than steel. Nature also knows how to create multipurpose forms.
The thing about education - and why I'm so passionate about the position and status of the university - is that it's supposed to teach citizens how to think better, how to think critically, how to tell truth from falsehood, how to make a judgment about when they're being lied to and duped and when they're not, how to evaluate scientific teaching. Losing that training of citizens is an extremely dangerous road to go down.
I don't much like being a public figure, because so often how people appear is not how they really are, and I think one of the issues about our society is that we make judgments about people on the basis of very flimsy evidence.
To spend any time with someone who is among the top five film composers of the last 50 years is pure gold dust. I mean, not necessarily stylistically, because everyone is different in what their music sounds like, but the approach and how to look at a film, how to think about a film, how to decide what you want to do, how to think about characters, how to think about art, how to think about narrative, how to liaise with producers, how to liaise with directors.
I know I sometimes come across as being quite dismissive about acting. But I'm not. It's like people reading their diaries in public. I don't want to talk about how I create characters. I find it self-indulgent.
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