Material Choice Quotes

You say to a brick, 'What do you want, brick?' And brick says to you, 'I like an arch.' And you say to brick, 'Look, I want one, too, but arches are expensive and I can use a concrete lintel.' And then you say: 'What do you think of that, brick?' Brick says: 'I like an arch.'

The tubular steel chair is surely rational from technical and constructive points of view. It is light, suitable for mass production, and so on. But steel and chromium surfaces are not satisfactory from the human point of view.

I wonder if I have woven through dreams the sexual strife. I don't think so. But after all, my business is to weave dreams. I suppose I may be allowed to choose the material.

Mother, she likes the blue material just fine.

I have a soft spot for art that, in terms of subject matter and material, is in bad taste.

My buildings are not particularly expensive. It is not a tin shed. If you want a tinny car, you pay for that.

Golden rule: Made of hard metal so it could stand severe wear, it not being known at that time that butter would answer.

The only reason why I tend to pass on a movie is either I don't think I'm right for the material and can't play it honestly, or because of time constraints with personal things in my life.

I try to make pieces that are durable. One of the reasons that I work in steel is durability.

Using a massive panel of pure sapphire for the front of a phone would be a little bit stupid.

They used to tease me at the 'Oprah' show, 'Are you really going to do another white Shaker kitchen, with white subway tile and stainless steel appliances?' And my answer is, 'I can vary it a bit, but I'm never going to err from classic materials.'

I'm actually living my life with the material I choose to work with.

I hate gold. I'm sort of a sterling-silver guy.

Nine out of nine architects start with a sketch, and then they say, 'What should we make it out of?' I start from the bottom up - what should it be made out of - and then I worry about what should it look like. The material, the color of the material, the way it feels, and the way you respond to it is every bit as valid as the form or the shape.

I don't have a grand strategy for my career. I just look for good material, and good stories. I look for good scripts.

In the construction of houses, choice of woods is made. Straight un-knotted timber of good appearance is used for the revealed pillars, straight timber with small defects is used for the inner pillars. Timbers of the finest appearance, even if a little weak, is used for the thresholds, lintels, doors, and sliding doors, and so on. Good strong timber, though it be gnarled and knotted, can always be used discreetly in construction.

I shoot people in a way that makes the audience feel equal to them. And it's hard to express and it's hard to execute but I think it works on every level - the choice of the material the choice of the actor, my relationship with the actor, and so on.

There isn't any one material that's mine. It all depends on the context. For example, I did a house that had the most exquisite marble applications. That sounds ostentatious, but it wasn't, given the context. The color white I subscribe to extensively. I love thinking about color, but I often go with white.

In the past, I have approximated the look of monkey fur and yak hair with human hair because it's inexpensive, and it lasts a long time.

A pair of socks is no less suitable to make a painting with than wood, nails, turpentine, oil and fabric.

For me, I think you make a choice what kind of actor you want to be, and then it's kind of the material you choose.