When something's made in the smallest volume - as a one-off couture piece - or in large quantities, deep care is critical to determine authentic, successful design and, ultimately, manufacture.
Jonathan IveRead
It's easy to assume that just because you make something in small volumes, not using many tools, that there is integrity and care - that is a false assumption.
Interpretation
Creating something in small quantities does not always guarantee its quality or care in the process.
Jonathan Ive highlights the misconception that low-volume production and minimal tools automatically result in integrity and meticulousness. He suggests that true quality cannot be assumed simply based on the production method; rather, it requires intentional effort and skill, regardless of the scale of the work.
In practice
In a speech about craftsmanship at a design conference.
When something's made in the smallest volume - as a one-off couture piece - or in large quantities, deep care is critical to determine authentic, successful design and, ultimately, manufacture.
I find that when I write, I need things to be quiet, but when I design, I can't bear it if it's quiet.
I'm always focussed on the actual work, and I think that's a much more succinct way to describe what you care about than any speech I could ever make.
One of the hallmarks of the team is this sense of looking to be wrong. It's the inquisitiveness, and sense of exploration. It's about being excited to be wrong, because then you've discovered something new.
We say no to a lot of things so we can invest an incredible amount of care on what we do.
Goal we've always had for design at Apple is to create solutions that are inevitable.
PANTOMIME, n. A play in which the story is told without violence to the language. The least disagreeable form of dramatic action.
The dance can reveal everything mysterious that is hidden in music, and it has the additional merit of being human and palpable. Dancing is poetry with arms and legs.
Now why should the cinema follow the forms of theater and painting rather than the methodology of language, which allows wholly new concepts of ideas to arise from the combination of two concrete denotations of two concrete objects?
Acting is make-believe. I never believe I'm the character; I want you to believe.
And I don't consider Broadway the acropolis of theatrical art. I mean Broadway is commercial - that's what it is. It's expensive seats and a lot of them that have to be filled every night. Off-Broadway and Off-Off Broadway, as far as I'm concerned, is in New York the pride of New York theater.
And when they encounter works of art which show that using new media can lead to new experiences and to new consciousness, and expand our senses, our perception, our intelligence, our sensibility, then they will become interested in this music.
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