The decoration of our classical interiors was decidedly regular in its arrangement. The Taoist and Zen conception of perfection, however, was different. The dynamic nature of their philosophy laid more stress upon the process through which perfection was sought than upon perfection itself. True beauty could be discovered only by one who mentally completed the incomplete. The virility of life and art lay in its possibilities for growth. In the tea room it is left for each guest in imagination to complete the total effect in relation to himself. Since Zennism has become the prevailing mode of thought, the art of the extreme Orient has purposely avoided the symmetrical as expressing not only completion, but repetition.
The Macintosh team came to share Jobs's passion for making a great product, not just a profitable one. "Jobs thought of himself as an artist, and he encouraged the design team to think of ourselves that way too," said Hertzfeld. "The goal was never to beat the competition, or even to make a lot of money. It was the do the greatest thing possible, or even a little greater." He once took the team to see an exhibit of Tiffany glass at the Metropolitan Museum in Manhattan because he believed they could learn from Louis Tiffany's example of creating great art that could be mass-produced. Recalled Bud Tribble, "We said to ourselves, 'Hey, if we're going to make things in our lives, we might as well make them beautiful.'"
In so many ways Dieter Rams’s work is beyond improvement. Although new technologies have since offered new opportunities, his designs are not undermined by the limits of the technologies of their time. The concave button top, designed to stop your finger from slipping as it made the long travel necessary for earlier mechanical switches, does not point to obsolete mechanisms. Instead, it reminds us how immediately and intuitively form alone can describe what an object does and suggest how we should use it.
There is a particular joy in a product that just does what you need done, in about the way you expect or (thrillingly) better, and isn’t hard to figure out, and doesn’t change unnecessarily. Here are three to learn from.
When nothing disturbs me and I have no idea what to do more, what I could add or destroy. This is very surprising, often, when I’m painting, again and again, every day and it feels like it is never-ending […] and it will never become a good painting. And suddenly, it’s finished. Oh! Good. Thanks.
We love to see the process, not just the result. The imperfections in your work can be beautiful if they show your struggle for perfection, not a lack of care.
Most likely to succeed in defining Japanese aesthetics is a net of associations composed of listings or jottings, connected intuitively, that fills in a background and renders the subject visible.
We have been given a standard to use. It is there, handy daily: things as they are, or Nature itself. This makes good sense, the only sense really—Nature should be our model.
If there is no term for something, it might be thought that the commodity is of small importance. But it is just as likely that this something is of such importance that it is taken for granted, and thus any conveniences, like words, for discussing it are unnecessary.
Realism played small part in the realities of life as experienced by the traditional Japanese artist. The expectations of the artist's cultivated sensibilities did not demand mimesis. Rather, indication, suggestion, simplicity took the place of any fidelity to outward appearance.
Cherry blossoms are to be preferred not when they are at their fullest but afterward, when the air is thick with their falling petals and with the unavoidable reminder that they too have had their day and must rightly perish.
Immortality, in that it is considered at all, is to be found through nature's way. The form is kept though the contents evaporate.