A Quote by Brad Pitt
I'm drawn to furniture design as complete architecture on a minor scale.
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To go back to architecture, what's organic about architecture as a field, unlike product design, is this whole issue of holism and of monumentality is really our realm. Like, we have to design things which are coherent as a single object, but also break down into small rooms and have an identity of both the big scale and the small scale.
To go back to architecture, whats organic about architecture as a field, unlike product design, is this whole issue of holism and of monumentality is really our realm. Like, we have to design things which are coherent as a single object, but also break down into small rooms and have an identity of both the big scale and the small scale.
I've always thought that design can have equal importance to the idea of internal architecture. Professionally, things can be very dogmatic - you do the architecture, someone else does the interiors, someone else does the furniture, the fabric, etc. But I think design is all-encompassing.
Fashion is everything. Art, music, furniture design, graphic design, hair, makeup, architecture, the way cars look - all those things go together to make a moment in time, and that's what excites me.
The Turkish Government began and ruthlessly carried out the infamous massacre and deportation of Armenians in Asia Minor. The clearance of the race from Asia Minor was about as complete as such an act, on a scale so great, could well be.
I live in a craftsman house, but I'm a big fan of modernist and mid-century furniture and architecture, too. But my dream is to do a truly original chair design, something that is all these different things but is my own, too.
It wasn't that I had any great dream of being an architect. I just wanted to make things. Whether it was furniture, painting, interior design, or architecture. I just wanted to create something.
I grew up in a modernist house, in a modernist culture. There was a love for modernism everywhere - the furniture, the books, the food, even the cutlery. So I learned very early to appreciate the value of design and the value of architecture.
Make sure furniture decor has similar scale. It's all about scale, proportion, measuring, being conscious of the overall plan.
Only architecture that considers human scale and interaction is successful architecture.
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.
It used to be that companies with industrial economies of scale created business success. Now, success will come from the information economies of scale, either the ones with complete breadth, or complete depth.
At a certain point, I got interested in set design for the theater. I was interested in architecture, but I was taking photographs at the same time, and architecture, though it had the design element, it didn't have the narrative, emotional element that I was looking to do. I ended up painting for a while. I was dancing around it, and I realized that all these different interests came together in filmmaking.
The scale relates to everything. The thickness of a pipe, the thickness of a leg of the furniture. Even color could have a scale.
Architecture is a hypothesis about the future that holds that subsequent change will be confined to that part of the design space encompassed by that architecture.
By the late Nineties, we had become a more visual nation. Big-money taste moved to global standards - new architecture, design and show-off contemporary art. The Sloane domestic aesthetic - symmetry, class symbolism and brown furniture - became as unfashionable as it had been hot in the early Eighties.
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