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Now I'm doing more snowboarding but I have to get back into surfing again.
People kind of tend to mystify design and architecture by suggesting you need to train.
So if I want to buy a light in a shop and I don't find a light that I like, I think to myself what would I like? What would I like to buy? Then I started to imagine and design it for myself a lot of the time.
If you see something that you feel is familiar it gives you an important kind of emotional connection.
I don't like to make my life like a book.
I'm interested in youth culture and popular culture.
So if I design it and then go away, it's still living somewhere and it still exists by itself without me.
I have a lot of objects in my space, little things, reminders, memories.
I don't have any furniture of mine in my room.
I made some salt and pepper shakers a while back and waited three years for them to come.
I was much more interested in making things than in designing them.
I never buy magazines, I never even buy books.
You know some people say that you make watches or perfume bottles, it's all different things.
I was sort of open to do anything, I was free.
I've always listened to a lot of film music, actually.
Then I started to do furniture and interiors for a friend and just to get stuff in a magazine, and then slowly started to build up and started to doing exhibitions.
You know like it has its own personality, its own character.
Design schools are good, I guess, sometimes I visit schools, but they are very very limiting.
In Japan, Australia, and England there is such a strong youth culture.
I'm always working. Like a lot of creative people I can't switch off. I can't disassociate work from pleasure. My job is my hobby.
But to me, to be original is to be yourself.
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