E03 Es Devlin - Stage Design
- Often things are made to fill voids. The impetus to fill that hole with art, to me is fundamental.
- My canvas tends to be devoid of light. You sort of do need to start without light ot find it.
- My practice has been following my own paths of inquiry. And in order to practice, I have found willing collaborators who I've been able to align my paths of inquiry with.
- Ingrediant 1/5 SPACE: As soon as you have a frame, the first thing you want to do is start breaking out the edge of it.
- You can design nice things without having a clue how they f*king work.
- Music was an entry point into another tribe. And I have always, since then, enjoyed being amongst the tribe of musicians.
- A lot of my work now is about finding environments for music.
- Ingrediant 2/5 LIGHT: I can find light and scratch out light and shape things to allow light in.
- Marc Chagall 's windows - this feels like paint turned into light.
E04 Bkarke Ingles - Architecture
- In architecture there's this catch-22. Nobody will entrust you to build a building until you've already built a building.
- It's more like a magical manipulation of a conventional element that then becomes space.
- Once you focus these sort of seemingly mutually exclusive concepts together, you actually get a new hybrid that somehow ends up looking different because it performs differently.
- "Yes is More"
- In the big picture, architecture is the art and science of creating the framework of our lives. And the buildings that we built, they either open possibilities, or they hinder encounters or connections.
- What changes over time is that naivete fades away, but it's replaced by another kind of confidence that will make you better at seizing the moment and grasping what's important.
-Clean tech presents almost utopian possibilities, and I think the Steam Ring is a powerful symbol of exactly that.
- You know what's important for you, but you don't necessarily know where you're going. But you know that, if you make the decision based on these things that you know matter to you, wherever you're gonna end up, it's where you need to go.
- We live in a time where we need to pull all disciplines to address the big question of the 21st century.
- I like this idea about architecture being a way to manifest your dreams into the real world.
E06 Paula Scher - Graphic Design
- Typograhpy is painting with words.
- I get my best ideas in taxicabs, you know, like sitting in traffic, drooling, I'm allowing my subconscious to take over, so that I can free associate. You have to be in a state of play to design. If you 're not in a state of play, you can't make anything.
- Design exists beyond screens. It has an impact in real life.
- You're not changing somebody. You're making them a more perfect vision of where they started. So the job is to traverse these different roads and try to get either an individual, a group of people, or a whole corporation to be able to see.
- The design of the logo is never really the hard part of the job. It's persuading a million people to use it
- I'm driven by the hope that I haven't made my best work yet. Making stuff is the heart of everything. That drive never goes away.
E07 Platon -Photography
- To get to that point where someone is just open, you've got to earn it. When a flower just opens to the light, that's what it is.
- A religious icon structure mixed with modernist design. Simple. Bold. Clear.
- If I can tap into someone's spirit, it's the same feeling as when you walk into a Frank Lloyd Wright room. It opens you up. It does something. And that's either a feeling of complete menace or fear, or a feeling of inspiration and hope.
- George Lois taught me to be a cultural provocateur. That's what I can do in society. I can't solve any other problems, but provoke.
- For me, a very complex world has to be simplified. Has to be stripped down. And design for me was a way out of confusion. Because great design simplifies a very complicated world.
- Everything is the same and it allows the message to change.
- The best light is just raw sunlight. No lights, no assistants. It's photography alive and kicking. The only thing u can do is focus on compassion, dignity and humility. It's a very powerful connection, and that is what photography feels like. At the end of it, you've got the aesthetic. That comes last.
- The power of the content, that's the whole point of design. That moment when you feel something very powerful.
- What makes this work is not a calculated argument that you've scripted. It's just the beauty and delicacy of the human condition.
- With all this amazing technology, the tools must never dominate us.
- It's 500th of a second, but it's freezed an event. You're looking for a moment when you feel you're as close to the soul as possible. That's what good design is, when it liberates you, and it allows you to do that, to help you feel something very powerful, and that's when you make an icon.
E08 ISe Crawford - Interior Design
- Ultimately, design is a tool to enhance our humanity. It's a frame for life.
- Empathy is a cornerstone of design.
- Humans don't question ro interrogate reality before they have an opinion. If you interrogate a situation, actually the answers present themselves to you.
- We've got two eyes, two ears and one mouth, and we should use them in that proportion.
- Materials are the thing that tell the truth. What we are interested in is how materials speak to us.
- It's that combination of materials that speak to each other and create this tactile, warm and very physical environment.
- We understand materials best by contrast. Our senses are wired in such a way that we understand that rough feels rougher by contrast with smooth. To get the best out of these materials, we needed to find its opposite.
- So it was less about the aesthetics or the appearance, but much more about how to make an environment that made people feel better after they'd been there than when they arrived. It's all about well-being.
- Designs that encourages people to be close together is a good thing.
- In Denmark, they call that hygge. To focus on the moment, on making the ordinary extraordinary, making the normal special. But what happens when we do that is it makes us much more open to each other and much.
- An art school has to be a mixture of a monastery, a pub, and a sweatshop.
- My fundamental hope, really, is that everybody starts to think in terms of putting people first, and that's really something that can be done on an individual basis.
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