Don't be like I was. Don't be afraid of history. Take all of it you can get.
【A NOTE ON 100 QUOTES】-35
I don't believe in this "gifted few" concept, just in people doing things they are really interested in doing. They have a way of getting good at whatever it is.
【A NOTE ON 100 QUOTES】-32
So actually, my grandfather was born in the 18th century, my father in the 19th, and I was born in the 20th. Which made for a reasonably wide spread, and that's why my upbringing in St. Louis, even, was largely 19th century upbringing.
【A NOTE ON 100 QUOTES】-31
Pardon me---I don't think it broke with traditionor was absolutely new, not if you take a good look at the development of chairs. Things seldom develop in a vacuum.
Eero[Saarinen] was a marvelous architect. He was a great firend－a very close friend of mine－－and I couldn't possible think of talking about work without also talking about Eero a little bit.
The idea was to do a piece of furniture that would be simple and yet comfortable. It would be a chair on which mass production would not have anything but a positive influence; it would have in its appearance the essence of the method that produced it. It would have an inherent rightness about it, and it would be produced by people working in a dignified way. That sounds a little pompous, but at the time it was a perfectly legitimate thing to strive for.
I believe that we did for the Museum of Modern Art's Organic Furniture Competition in 1940 was really a statement of concept. We weren't particularly concerned with the economics of the solution even though at the time we thought we were.
We've always been aware of not even attempting to solve the problem of how people should sit, but of rather arbitrarily accepting the way people do sit and of operating within that framework.
Thinking of how a chair looks comes pretty far down on the list of things I worry about when designing. I only think about how they look in relation to how they are doing their job. They must be comfortable － comfortable for the kind of use they're going to get.
Here is one of the few effective keys to the design problem－the ability of the designer to recognize as many of the constraints as possible－his willingness and enthusiasm for working within these constraints. Constraints of price, of size, of strength, of balance, of surface,of time, and so forth. Each problem has its own peculiar list.
解決設計上問題的少數有效方法之一就是 － 設計師能辨識出所有可能存在限制的本能 － 然後在這些侷限框框中繼續創作的意願與熱誠。不管是屬於價格、尺寸、強度、平衡、表面、時間等的限制。每種問題都有屬於自身的限制條件。