Neri Oxman Quotes
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If you believe in Cinderella, and if you can suspend your disbelief at midnight, then you can believe in the interdisciplinary midnight, the 'in-betweens,' and become fortunately entangled, moving from art to science.
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Forms in nature are a byproduct of a reciprocal action between a given material and the conditions of the environment. But in architecture, the process is the direct opposite: First you decide on the form, and then you think how to build it in reality.
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The 3D-printing technology has been developing at a very rapid pace.
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Our facial skins are thin with large pores; our back skins are thicker with small pores. One acts mainly as filter, the other mainly as barrier. And yet, it's the same skin, no parts, no assemblies. It's a system that gradually varies its functionality by varying elasticity.
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When you celebrate a new idea, it immediately comes through the way you hold yourself and the clothes you wear.
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I believe in the balance between dreaming and building.
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I like to mostly wear very simple clothes.
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I'm not a mother of children, but I'm a different type of mother where my approach to design is more in line with nature. It's less about dictating and more about editing and listening and allowing something to grow. So I nourish and let the material express what it wants to be.
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There is a very beautiful expression in the Hebrew language that's borrowed from spoken Torah... 'All is predicted, and permission is given at any point to change anything.' I think I live by this idiom in the sense that there is always a goal; there is always something to look forward to in life and my creative search, and that goal is there.
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When I came to MIT, there were four rubrics: science, art, design, and technology. And as you entered your degree, whether it was a master's or a Ph.D., if you were a citizen in one domain, you were a traveler in the other.
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In nature, there is no separation between design, engineering, and fabrication; the bone does it all.
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In traditional 3D printing, the gantry size poses an obvious limitation for the designer who wishes to print in larger scales and achieve structural and material complexity.
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In the United States alone, 450 billion square feet of glass facade is produced every year. What if we could take this chance to use the glass to harness solar energy and allow the architecture to respond to the light and heat of the sun, to create photosynthesis and generate solar energy?
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I loathe categorization. I cherish my independence, and I treasure chivalry. I live just fine with ambiguity, and I welcome a good quarrel about all things designed or grown - except for when men misnomer 'confident' with 'poised' and 'passionate' with 'feisty.' I work hard.
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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.
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The future of design is a future where anything material in the environment - whether it's wearables, cars, buildings - can be designed with this variation of properties and relationship with the environment that can take part in the natural ecology.
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I don't separate architecture, design, or culture. What's more important is a language of creativity that carries meaning.
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Gender is more of a continuum than we are willing to admit when we hit the restroom.
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How can we reinterpret 3-D printing in a way that suggests a new design language?
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I am equally fascinated and awed by visiting an Alexander McQueen show as I am looking under a microscope.
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I don't think of fashion as fashion or biology as biology.
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I approach the world as a whole by taking an integrative approach, not a world of parts, and I like to bring different fields and disciplines together. The same is true with my preoccupation with cultural expression.
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Look at spiders. They use about eight different properties of silk for different functions. The spider is like a multimaterial 3D printer.
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At least since the Industrial Revolution, the world of design has been dominated by the rigors of manufacturing and mass production. Assembly lines have dictated a world made of parts, framing the imagination of designers and architects who have been trained to think about their objects as assemblies of discrete parts with distinct functions.