"That was always my frustration with so many of these shows, because design is not an ambush... it's a relationship. You have to know how people move and live and work to be able to design for them"
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Design is not an ambush: it’s an indictment of the makeover-TV era that treats homes like stages and people like props. Genevieve Gorder is pushing back against the dopamine hit of the “reveal” - the big gasp, the camera swoop, the idea that taste is a weapon you deploy on unsuspecting lives. Her frustration isn’t just aesthetic; it’s ethical. An ambush implies surprise, dominance, and a one-way transfer of power from expert to subject. A relationship implies consent, listening, and iteration.
The line works because it quietly flips the hero narrative. In so many renovation formats, the designer is framed as the savior who imposes vision, while the client is either a problem to solve or a blank slate. Gorder refuses that hierarchy. By anchoring design in “how people move and live and work,” she drags the conversation back to bodies, routines, and friction: where keys land, how laundry travels, where a morning argument happens in a too-narrow hallway. Function isn’t a buzzkill; it’s the lived proof of care.
There’s also a cultural subtext about expertise in the age of spectacle. Television rewards speed, surprise, and personality; real design rewards time, empathy, and boring questions. Calling it a relationship is a demand that we stop confusing aesthetic authority with understanding. Good rooms don’t win because they shock you on reveal day; they win because six months later they still make your life easier.
The line works because it quietly flips the hero narrative. In so many renovation formats, the designer is framed as the savior who imposes vision, while the client is either a problem to solve or a blank slate. Gorder refuses that hierarchy. By anchoring design in “how people move and live and work,” she drags the conversation back to bodies, routines, and friction: where keys land, how laundry travels, where a morning argument happens in a too-narrow hallway. Function isn’t a buzzkill; it’s the lived proof of care.
There’s also a cultural subtext about expertise in the age of spectacle. Television rewards speed, surprise, and personality; real design rewards time, empathy, and boring questions. Calling it a relationship is a demand that we stop confusing aesthetic authority with understanding. Good rooms don’t win because they shock you on reveal day; they win because six months later they still make your life easier.
Quote Details
| Topic | Work |
|---|---|
| Source | Help us find the source |
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