Quotes About Design

At the University of Maryland, my first year I started off planning to major in art because I was interested in theatre design, stage design or television design.

Life, by which I mean my life, is a great, or probably the greatest, design, from its very beginning to its end, the end that, I think, is unlikely to exist. Each and every bit of life is a part of the design. Design exists as the consequence of the ultimate questioner's vanity. And my mission is to find the most fundamental truth, which probably and exclusively involves the nature of the existence of the ultimate questioner.

The tragedy of feminine design is that it receives so little official support. Most of the world's design schools, having been organized by men, encourage a masculine approach, even when they are run by women. Yet many designers who are male in the biological sense have a feminine approach to design.

Design is the patterning and planning of any act toward a desired, foreseeable end... any attempt to separate design, to make it a thing-by-itself works, counter to the fact that design is the primary underlying matrix of life.

Design is the term we use to describe both the process and the result of giving tangible form to human ideas. Design doesn't just contribute to the quality of life; design, in many ways, now constitutes the quality of life.

People think that design is styling. Design is not style. It's not about giving shape to the shell and not giving a damn about the guts. Good design is a renaissance attitude that combines technology, cognitive science, human need and beauty to produce something that the world didn't know it was missing.

The first thing to say about Eve is that she was a big improvement on the Adam design, or that Adam was an extremely misguided variation on the Eve design. (Consider testicles. Two concentrated nuclei of absolute vulnerability. Where? Dangling between the legs. I rest my case.)

You can build a brain the size of a room, theoretically. You could also build a silicone based life form and it could be sentient. There's no limit to the height that you can reach in terms of design once we figure out how to design things, theoretically.

You cannot design shoes if you only think about fashion; its too realistic. When I design, I dream.

There is no such thing as information overload, just bad design. If something is cluttered and/or confusing, fix your design.

For thirty years most interface design, and most comptuer design, has been headed down the path of the "dramatic" machine. Its highest idea is to make a computer so exciting, so wonderful, so interesting, that we never want to be without it. A less-traveled path I call the "invisible"; its highest idea is to make a computer so imbedded, so fitting, so natural, that we use it without even thinking about it.

Yes, I share your concern: how to program well -though a teachable topic- is hardly taught. The situation is similar to that in mathematics, where the explicit curriculum is confined to mathematical results; how to do mathematics is something the student must absorb by osmosis, so to speak. One reason for preferring symbol-manipulating, calculating arguments is that their design is much better teachable than the design of verbal/pictorial arguments. Large-scale introduction of courses on such calculational methodology, however, would encounter unsurmoutable political problems.

Don't design your back yard from the outside looking in. Design from your window looking out.

When we launched If WeRanTheWorld, I said to my team, I want us to innovate in every aspect of how we design and operate this as a business venture, as much as the web platform itself - because I want us to design our own startup around the working lives that we would all like to live. Women and men alike.

If modern design moved the stage picture away from the specific, tangible, illusionistic world of Romanticism and Realism into a generalized, theatrical, and poetic realm in which the pictorial image functioned as an extension of the playwright's themes and structures (a metanarrative), then postmodern design is a dissonant reminder that no single point of view can predominate, even within a single image.

Good design is making something intelligible and memorable. Great design is making something memorable and Meaningful.

A life best lived is a life by design. Not by accident, and not by just walking through the day careening from wall to wall and managing to survive. That's okay. But if you can start giving your life dimensions and design and color and objectives and purpose, the results can be staggering.

So that’s our approach. Very simple, and we’re really shooting for Museum of Modern Art quality. The way we’re running the company, the product design, the advertising, it all comes down to this: Let’s make it simple. Really simple.” Apple’s design mantra would remain the one featured on its first brochure: “Simplicity is the ultimate sophistication.

To design things means to interfere with things: to think of how they might be and to alter how they are. Design is to making as writing is to speech: it is an ordinary physical activity pushed to a conscious edge. That interference with the given world can still be founded on admiration. Where it is not, what is the point of designing at all?

The science of design, or of line-drawing, if you like to use this term, is the source and very essence of painting, sculpture, architecture... Sometimes... it seems to me that... all the works of the human brain and hand are either design itself or a branch of that art.

There is a strong reciprocal relationship whereby our more ambitious design visions encourage the continuing development of the new digital technologies and fabrication techniques, and those new developments in turn inspire us to push the design envelope ever further.

Even though we don't know squat about how the brain works, the little we do know suggests that if you wanted to design a learning environment that was directly opposed to what the brain was naturally good at doing, you would design the education system we currently have, not only in America, but all over the world!

I'm so immersed in my little world that I don't often sit back and pay attention to what's going on around me. It truly stuns me when people recognize me. Obviously, I'm not a film star, but even at a design exhibition or art exhibition, if someone comes up to me, I'm sort of taken aback. I don't think of myself like that. But if I can have an effect on young designers, that's great - particularly young designers coming from Australia. Europeans grew up with design. The rest of us lived on tidbits of information.

Design principle: Take things away until the design breaks, then put that last thing back in.

Good design means as little design as possible.

Critical design aims to really push the boundaries of design and to reconsider the element of fiction.

Our crisis is a birth. We are one living system and we have come to the limit of one phase of natural growth on a finite planet We must learn ethical evolution quickly As we seek to facilitate a gentle birth, a graceful and nonviolent transition to the next stage of our evolution, we will discover a natural pattern, a design of our birth transition, and develop a plan to cooperate with this design.

For me, the concept of design is more than object-oriented; it encompasses the design of processes, systems and institutions as well. Increasingly, we need to think about designing the types of institutions we need to get things done in this rapidly accelerating world.

I've never mentioned this, but when I was at Parsons teaching, the other design disciplines, they don't like fashion design. They see it as very nineteenth-century.

I haven't even had a life I could call my own, and you're ready to slot me into the grand design. Well, I don't think I want to go. I want to be my own design.

I have half a dozen designers who work for me, they 'realise' most of the design work, and I act as the design director and the main point of client contact on each project.

Desire reveals design, and design reveals destiny.

One of the great things about design is that it's truly international. No one in the design industry would say, "This country is mine," or "I will make it look this way because it's for an American market and that way for a Chinese market." If you look at all of the Apple products, they are the same everywhere . . . I mean, I can't deny that I love traveling. It's a very healthy thing to be able to appreciate other cultures - or at least witness them firsthand. And all of that goes into helping someone be a good designer, because it's an international business.

Content informs design; design without content is decoration.

In my book "Sound Unbound" we traced the guy who actually came up with the main concept for the graphic design of the record cover sleeve. His name is Alex Steinweiss. And one of the things in my book that we really tried to figure out was the revolution in graphic design that occurred when people put images on album covers.

Character design, like story design, requires a hook to grab the reader’s attention.

The design of everyday things is in great danger of becoming the design of superfluous, overloaded, unnecessary things.

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.

I want industrial design to be a public subject. I want people to love objects the way they love clothing.

I think someone should design exercise machines that reward people with sex at the end of their workouts, because people will perform superhuman feats for even the faint hope of that.

If the design of the building be originally bad, the only virtue it can ever possess will be signs of antiquity.

There was a school in Chicago called the School of Design. This was started by [Laszló] Moholy-Nagy, and it was a wonderful school, but we [with Alix MacKenzie] didn't go to that school. We did have friends who went to that school and we would visit there often, and I'm sure it pushed me in my painting direction very strongly just by association.

We will soon be living in an era in which we cannot guarantee survivability of any single point. However, we can still design systems in which system destruction requires the enemy to pay the price of destroying n of n stations. If n is made sufficiently large, it can be shown that highly survivable system structures can be built.

Nearly all inventions are not recognised for their positive side either when they're made. So, for example, scientists didn't go out to design a CD machine: they designed a laser. But we got all sorts of things from a laser which we never remotely imagined, and we're still finding things for a laser to do.

Designers are by nature more inquisitive, more connected. They dig a little deeper in terms of insights. They turn those insights into innovation. That connection to the consumer is absolutely critical in driving innovation. It’s critical that design isn’t subjugated to the back room as a short order cook for marketing or for merchandising or sales. It has to be up front.

The new architecture and urban design of segregation could be called Calvinist: they reflect a desire to live in a world of predestination rather than chance, to strip the world of its wide-open possibilities and replace them with freedom of choice in the marketplace.

I got my career start by first creating my own free, independent lifestyle in my own house out in the country. There I taught myself to make and later design furniture. I have continued to go my own way, always consciously needing to feel that I am moving forward.

Being a student in an art & design school, that was the moment for me, that was when I began to develop a lot of self-confidence and really come into my own.