The cost is minimal, but one of the things that you want in a universal design is to make the plan as open as you can... and to still have walls around bedrooms and that sort of thing, and to keep the corridors wide enough so the wheelchair can do a 360 in the corridor.
We've taken on health care in a big way in our office, ever since nine years ago when I was paralyzed. I was in eight different hospitals, three different rehab centers, and all the rooms were dreadful. As an architect, designer, and patient, I can do something to help.
I used a kind of gray-green early on in my practice for painting steel, to make it look more like it had a kind of patina to it, like copper and bronze and so on. The color I used was a Benjamin Moore color called 2012. My then-young daughter started calling me 2012 - it was my nickname.
I taught at Princeton for 39 years, and the school of architecture on the campus is the worst building on the campus.
The dialogue of architecture has been centered too long around the idea of truth.
I don't clean now, because I'm paralyzed. But let me tell you, I would clean. I cleaned, and I ironed. It's my inner femininity.
Form must never trump function. Some objects are made to look so smooth, you don't know where to pick them up or how to turn them on. If I'm designing a garlic press or cheese grater, I need my hand to fit comfortably on it. I like to know, instinctively, how to use it.
When I design a building, I'm making sure you and I can get to the front door, there's enough of a threshold for entry, and that the rooms are in a logical sequence.
In any architecture, there is an equity between the pragmatic function and the symbolic function.
I grew up in a time when Eames and Le Corbusier and Frank Lloyd Wright and other architects were putting their furniture and objects on the market. You could buy some of those objects on the open market. Eames was a huge influence on all of us in school.
Good design to me is both appearance and functionality together. It's the experience that makes it good design.
I had been designing for Alessi and Swid Powell and Steuben and high-end people, and people always complained, 'Michael, we'd love to buy your stuff, but it's too expensive.'
On the first day I got my wheelchair, I was also given all my clothes for the next day, a little pile on the chair. I was so proud of myself for getting it all on - the socks and everything. Dressing is a struggle, and it can take up to an hour and a half.
I believe well-designed places and objects can actually improve healing, while poor design can inhibit it.
When I started my own practice, I was criticized, not because I was doing product design but because, like Le Corbusier, I was insisting on paintings in all of my buildings. I would paint wall murals in the houses that I designed, just as he did in the '20s and '30s.
Someone once told me they didn't like taking the lid off the kettle because they'd just lose it in the kitchen, so we made a kettle with an attached lid that you slide. It was in response to that that we made one that did something different.
We use blue on the handle of the Alessi kettle. Blue is cool, so you're supposed to think that it's not hot. And the bird is red: you're supposed to think to be careful to remove the bird.
Good design should be available to everyone - and I do mean everyone. What I spent on the wheelchair I'm in could buy a small Mercedes. It's not only unfair to me; it's unfair to someone who's indigent but has the same needs. My goal is to make all objects affordable.
As a child, I was obsessed with drawing things, like Mickey and Donald. And houses. My mother was worried I'd become an artist.
The avant garde is so narcissistic.
