To go back to architecture, whats organic about architecture as a field, unlike product design, is this whole issue of holism and of monumentality is really our realm. Like, we have to design things which are coherent as a single object, but also break down into small rooms and have an identity of both the big scale and the small scale.
The Girl With Many Eyes One day in the park I had quite a surprise. I met a girl who had many eyes. She was really quite pretty (and also quite shocking!) and I noticed she had a mouth, so we ended up talking. We talked about flowers, and her poetry classes, and the problems she'd have if she ever wore glasses. It's great to know a girl who has so many eyes, but you really get wet when she breaks down and cries.
We offer such false hopes to people that every medical problem can be fixed even when you're starting to deal with an 80- or a 90-year-old body that is breaking down in multiple ways and doesn't have that resilience. And so it doesn't surprise me that someone who is completely unprepared for death may say, "Doc, do everything."
You don't want to move toward some utopian literary situation where everybody's free of all conventions. That's ridiculous! Conventions are what you need. You have nothing to break down if you don't have conventions.
And then she realized that his presence was the wall, his presence was destroying her. Unless she could break out, she must die most fearfully, walled up in horror. And he was the wall. She must break down the wall. She must break him down before her, the awful obstruction of him who obstructed her life to the last. It must be done, or she must perish most horribly.
The Japanese director Tadashi Suzuki once stated, 'International cultural exchange is impossible - therefore we must try.' I agree with all my heart. The impossibility of seeing beyond one's own cultural context is a political act in the world and has the potential to break down the rigid assumptions surrounding us.