> I started to notice that successful objects, that is, objects which are good to live with, seemed to share certain characteristics. They were never the result of aesthetic decisions alone, nor were they purely functional. They always balanced these two extremes with the additional consideration of the appropriateness of materials and their combination, of the human experience of using and living with the object, of the object's effect on its surroundings and of the communication of its purpose.
> A while ago I found some heavy old hand-blown wine glasses in a junk shop. At first it was just their shape which attracted my attention, but slowly, using them every day, they have become something more than just nice shapes, and I notice their presence in other ways. If I use a different type of glass, for example, I feel something missing in the atmosphere of the table. When I use them the atmosphere returns, and each sip of wine's a pleasure even if the wine is not. If I even catch a look at them on the shelf they radiate something good. This quota of atmospheric spirit is the most mysterious and elusive quality in objects. How can it be that so many designs fail to have any real beneficial effect on the atmosphere, and yet these glasses, made without much design thought or any attempt to achieve anything other than a good ordinary wine glass, happen to be successful? It's been puzzling me for years and influencing my attitude to what constitutes a good design. I've started to measure my own designs against objects like these glasses, and not to care if the designs become less noticeable. In fact a certain lack of noticeability has become a requirement.
-- Jasper Morrison