I’ve learned over decades of building that a deadline is a potent tool for problem-solving. This is counterintuitive, because complaining about deadlines is a near-universal pastime.
I’d like the head I’m building to be animatronic. The lips would curl back and the jaws would open and snap out, just like in the movie…I know how each of these actions should work individually, but I keep getting stumped when it comes to choreographing them all to operate together. And when I’m stumped without a deadline, I tend to let things go.
Adam Savage - Mythbuster and Special Effects Designer extraordinaire [x]
leopolitandynamite asked: Can I do a shout out on your blog? I'm looking for ground plans of the overwater conference center of Stefano Boeri (House of the Sea, La Maddalena, Sardinia, Italy, 2008-09). I'd be forever grateful! :D Big thanks!
I’d be glad to help! :)
— Frank Lloyd Wright (via catastrophe-urben)
- me: still stuck at the airport?
- him: yup, looking at architecture details...
- me: ... naturally
Do you wrestle with taking creative risks? How do you balance doing something because it strikes you personally versus doing something overtly reflective of the film’s subject? When do you hold to a vision and when do you experiment?
I always experiment and I always push. That is what the client wants and it is what I am being paid to do. But if I ignore the brief, then anything I do becomes worthless to them. Or if I design something that is too abstract and self-inflated then it becomes meaningless no matter how beautiful it is. It has to communicate and it has to be interesting and stimulating — in that order. It is funny though that we call these “creative risks” — I think the only risk you take is when you ignore the client. And if you are going to do that then you better also have their version or you may get fired from the assignment. It’s a matter of trust, that’s all. And once that is established most smart clients will give you freedom.
- Danny Yount [x]
An insightful quote about the designer/client relationship from an interview with the creative director of Prologue Films, that designed the titles for Sherlock Holmes and Iron Man.