Neri Oxman quotes

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?

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.

In nature, there is no separation between design, engineering, and fabrication; the bone does it all.

Nature is a brilliant engineer and builder. It knows how to create seashells that are twice as strong as the most resistant ceramics human beings can manufacture, and it produces silk fibers five times stronger than steel. Nature also knows how to create multipurpose forms.

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.

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.

Craft meets the machine in rapid fabrication. We can generate craft with the help of technology.

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.

Prior to the Industrial Revolution, hand-production methods were abundant. Craft defined everything. The craftsman had an almost phenomenological knowledge of materials and intuited how to vary their properties according to their structural and environmental characteristics.

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.

I object to the hegemony of form in contemporary architecture. We have very advanced technological tools, but ultimately, we create buildings exactly like we used to before: We send the drawings to an engineer and let him struggle with figuring out how to build it.

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.

Prior to the Industrial Revolution, hand-production methods were abundant. Craft defined everything. The craftsman had an almost phenomenological knowledge of materials and intuited how to vary their properties according to their structural and environmental characteristics.

Because glass is at once structural and transparent, it is relatively easy to consider the integration of structural and environmental building performance within a single integrated skin.

In nature, there is no separation between design, engineering, and fabrication; the bone does it all.

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.

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.

I don't separate architecture, design, or culture. What's more important is a language of creativity that carries meaning.

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.

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.

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.

How can we reinterpret 3-D printing in a way that suggests a new design language?