A Quote by Richard Meier
We look at each one [project] and consider the context - what it is and what it can be - beyond the strictly functional concerns.
Related Quotes
We have to respond to budget concerns, we have to respond to functional and programmatic concerns of the building, and we have to respond to public engagement. That's what you sign up for when you decide to become an architect.
I'm strictly a one-project-at-a-time kind of guy. If I came up with a compelling idea for a different book while working on a project, I'd probably abandon the first project and go with the new idea.
I wouldn't say design has become strictly functional. A lot of cars these days look downright comic book to me, and the info-gadgets with which late industrial people spend the most time - phones, music players, etc. - are blobjects.
I feel like we're so limited by the context at which we look at life. The way we look at who we're supposed to be and how we're supposed to love... everything. I feel like that, in and of itself, is a project of a lifetime: the problem of how to break out of the limiting context that is imposed upon us by the educational system, by the church, by our parents... As a kid I rejected it without even thinking about it. Now that I'm a little older, I see how deeply destructive it really is.
I never had a lot of ideas. I always have exactly one that is the next project; the idea of a project beyond that project is ludicrous.
Photography has always been about documentary, the depiction of the instant, a moment, sometimes a place. Each project is somehow an experimentation of a specific context or a character.
Honestly, orthodoxy concerns me about as much as it concerns your average jackrabbit. I only follow rules that take me where I want to go. If there aren't any rules, I make up my own and follow them strictly.
I don't consider myself specifically political, you know? I think of working as an actor as being a human thing. The concerns I have that fall into politics are human concerns.
The defining qualities are about use: ease and simplicity. Caring beyond the functional imperative, we also acknowledge that products have a significance way beyond traditional views of function.
Whatever is being investigated, created or produced now, in movies or TV, needs to consider the context in which it is being distributed. It's not a vacuum. There are certain universal themes of love, conflict, loyalty or family that are everlasting and that need to be presented in a way that makes it feel relevant, even if it's a period piece. You need to consider what context that film, that story and those characters are being seen in.
Culture is an output of a bunch of inputs that have to come together the right way. Specifically, it is the collision of people and their context, how they interact with each other in that context, and then how that context evolves based on those interactions as they multiply.
The reality is that anti-black racism is a global phenomenon, and it looks different in each context, but if you look at the outcomes, if you listen and look at the experiences, you will see that it's clear, and it's happening across the globe.
To be fair, on a good project, no matter whether it's improvised or scripted or meticulously prepared, or all up for grabs, it's always, always beyond the safety zone. Every project becomes interesting and exciting once you move beyond that routine. You always aspire to that. It's not that this improvisational mode is the only mode that facilitates that.
Knowledge in my view is a form of action. It involves endeavors to get it right, and more broadly it concerns aimings, which can be functional rather than intentional.
I don’t work as a conceptualist. Let’s say the conceptual art model is that you have a project idea, or a set of concerns, and then you illustrate those concerns in whatever manner you see appropriate. For me, it has always been that the world suggests far more subtle and interesting variations than I could ever come up with.
Each piece of dialogue MUST be "something happening". . .The "amusing" for its OWN sake should above all be censored. . .The functional use of dialogue for the plot must be the first thing in the writer's mind. Where functional usefulness cannot be established, dialogue must be left out.
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