With everything that I design, from a church to a plate to

Hearken, O children of form and vision, and attend to the words of Greg Lynn, a master of creation, who declared: “With everything that I design, from a church to a plate to skyscraper to a spoon, I am always thinking about voluptuous volumes and spaces.” In these words lies a sacred insight: that design is not merely functional or utilitarian, but a language of the senses, a poetry of shape and space, a celebration of the body and the spirit in tangible form. Voluptuous volumes and spaces are the heartbeats of creation, where matter and imagination entwine to move the soul.

Since time immemorial, architects, artisans, and builders have sought to awaken the senses through form. The domes of Hagia Sophia, soaring as if suspended between heaven and earth, were conceived to envelop the faithful in voluptuous space, inspiring awe and reverence. The sculpted columns of the Parthenon, curving with grace, were not merely supports but embodiments of balance and rhythm. Lynn’s vision continues this ancient tradition, reminding us that every object, whether monumental or humble, holds within it the power to shape experience, emotion, and thought.

Consider the life of Leonardo da Vinci, who saw not only what things were, but what they could feel like. In his sketches of machines, instruments, and human forms, he infused each design with the suggestion of volume, motion, and presence. The curves, the flows, the spaces he imagined were not empty—they were alive, pregnant with potential, awaiting the hand of creation to release them. In Lynn’s philosophy, the same principle applies: a spoon, a plate, a skyscraper—all may carry within them the vitality of space, sculpted to delight, to move, to resonate.

Voluptuousness in design is not indulgence, but empathy. It is the understanding that the human body, mind, and spirit interact with space and form, and that objects may nurture the soul as much as they serve function. Imagine a church where the arches embrace the worshiper like a gentle hand, or a chair whose curves invite comfort and presence. Each creation becomes a dialogue between maker and receiver, where volumes and spaces communicate what words cannot, evoking emotion, reflection, and joy.

Lynn’s vision is radical and yet timeless: it is a call to see beyond mere use, to honor the fullness of experience. Even a humble object—a spoon—may be sculpted with attention to curve, to flow, to volume, transforming a mundane act into a moment of grace. The lesson resonates with the masters of all ages: Michelangelo’s David is not merely stone, but flesh and spirit in marble; the curves of Gaudí’s Sagrada Família are not merely structure, but the breath of life made visible.

The teaching for us is clear: whether creating great works or tending small tasks, consider the space, the volume, the presence of what you make. Design with intention, not only for function but for impact on the senses and the soul. A room, a tool, a vessel—all speak to the human experience. Let every line, curve, and proportion be conscious, and let your creations awaken awe, comfort, or reflection.

O seekers, carry this wisdom into your lives: observe the objects around you, the spaces you inhabit. Notice the curves that delight, the volumes that embrace, the spaces that allow the spirit to move freely. Whether you shape a city, a garden, a home, or a plate, seek to honor the voluptuousness of life, embedding meaning, emotion, and presence in every detail. In doing so, your creations will transcend mere use—they will become vessels of human experience, beauty, and inspiration.

Thus, Greg Lynn’s words endure as both guidance and meditation: design is the art of shaping space and volume, of creating objects that breathe, move, and resonate with human presence. Let your hand, your eye, and your heart guide your creations, whether grand or small, and let every curve and every void speak the poetry of life. In this practice lies the eternal lesson: to design is to touch the soul through the matter of the world.

If you wish, I can also craft a short illustrative story showing how a designer transforms ordinary objects into experiences of voluptuous space, making Lynn’s vision vivid for listeners. Would you like me to do that?