Quotes About Design

Here is the cosmological proof of the existence of God - the design argument of Paley - updated and refurbished. The fine tuning of the universe provides prima facie evidence of deistic design. Take your choice: blind chance that requires multitudes of universes or design that requires only one.... Many scientists, when they admit their views, incline toward the teleological or design argument.

My skills weren't that I knew how to design a floppy disk, I knew how to design a printer interface, I knew how to design a modem interface; it was that, when the time came and I had to get one done, I would design my own, fresh, without knowing how other people do it. That was another thing that made me very good. All the best things that I did at Apple came from (a) not having money, and (b) not having done it before, ever. Every single thing that we came out with that was really great, I'd never once done that thing in my life.

I like to question the minutia, to get to the essence of things. The minutia of life is all about design. It's about the design of how you talk to another human being; it's the design of speech; it's the design of everything we do. We need to be better at listening, and we need to aim more directly at understanding and being understood.

We have also obtained a glimpse of another crucial idea about languages and program design. This is the approach of statified design, the notion that a complex system should be structured as a sequence of levels that are described using a sequence of languages. Each level is constructed by combining parts that are regarded as primitive at that level, and the parts constructed at each level are used as primitives at the next level. The language used at each level of a stratified design has primitives, means of combination, and means of abstraction appropriate to that level of detail.

If there is a well thought-out design standard, it should be followed. In practice, great design comes from great designers. That is empirically the case. If a great designer did a first-rate standard, that model should be followed. Great design is not democratic; it comes from great designers. If the standard is lousy, then develop another standard.

My father was a master carpenter and builder. Architectural design, engineering design, mechanical design, three-dimensional views, that was my shtick, my forte.

In any given marketplace, there's a triangle. There's a line of Dior goods at $25,000 that creates the sharp focus you need to sell $100 scarves to every woman. When [Design Miami] Basel popped on the scene, it proved there's a market for the top of the design triangle, which will lead the wide base beneath it.

Something I always wanted to do, to capture that later half of the '70s. It's like the early half of the '70s is still the '60s, in that there's still kind of a playfulness and inventiveness in terms of design and the things that were going on in the culture. The second half, it got much more commodified. It's possibly the ugliest era of architecture and clothes and design in the entire 20th century, from 1975 to '81 or '82.

Design must reflect the practical and aesthetic in business but above all... good design must primarily serve people.

The Open Hearts design was inspired by my Mom's advice that only when you keep your heart open can you best give and receive love. My hope is that the design will become a universal symbol of keeping an open heart - open to life's new experiences, open to allow something new and beautiful to come in.

If you think good design is expensive, you should look at the cost of bad design.

When East meets West, amazing design happens. L'Alahambra rug is a marriage of the clean line and simplicity of Western graphic design meets the complexity and beauty of Eastern pattern.

Design is about creating spaces for people to enjoy and of course, creating moments where you elevate the spirit, but 'design for good' is figuring out a program that not only creates better spaces, but creates jobs, creates new industry and really kind of raises the conversation about how we rebuild.

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.

People say I design architectural icons. If I design a building and it becomes an icon, that's ok.

Perhaps 25 to 50 years from now, I can design a piece of music, no so that it appeals to something common in millions of people, but I can design the music so that it's exactly right for you and only you at this particular moment for your particular experience, things that have happened to you over 20 years, to you're particular mental state right now.

Just as the design of our bodies can be understood only in terms of natural selection, so the design of our minds can be understood only in terms of memetic selection.

If you design communities for automobiles, you get more automobiles. If you design them for people, you get walkable, livable communities.

Fashion design is so diverse. It does not have clear identities as before with Balenciaga, Chanel, Cardin, Courreges. Design is about being recognised without a label. Elegance alone is not sufficient.

Science may explain the world, but we still have to explain science. The laws which enable the universe to come into being spontaneously seem themselves to be the product of exceedingly ingenious design. If physics is the product of design, the universe must have a purpose, and the evidence of modern physics suggests strongly to me that the purpose includes us

Airplanes were invented by natural selection. Now you can say that intelligent design designs our airplanes of today, but there was no intelligent design really designing those early airplanes. There were probably at least 30,000 different things tried, and when they crash and kill the pilot, don't try that again.

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?

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.

The reason American cars don't sell anymore is that they have forgotten how to design the American Dream. What does it matter if you buy a car today or six months from now, because cars are not beautiful. That's why the American auto industry is in trouble: no design, no desire.

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

I am trying to represent design through drawing. I have always drawn things to a high degree of detail. That is not an ideological position I hold on drawing but is rather an expression of my desire to design and by extension to build. This has often been mistaken as a fetish I have for drawing: of drawing for drawing’s sake, for the love of drawing. Never. Never. Yes, I love making a beautiful, well-crafted drawing, but I love it only because of the amount of information a precise drawing provides

Ultimately, we are deluding ourselves if we think that the products that we design are the ‘things’ that we sell, rather than the individual, social and cultural experience that they engender, and the value and impact that they have. Design that ignores this is not worthy of the name.

For me, the idea of a creation is not conceivable without invoking the necessity of design. One cannot be exposed to the law and order of the universe without concluding that there must be design and purpose behind it all.

If there's a group like Amish people, that want to live their own lifestyle – they don't want to live in our city – they want to live out in the country, with their own projects. We’ll put up the buildings for them, design the buildings for them, design the food production systems for them – if they want us to. But we don’t control them.

If there is ever a science of programming language design, it will probably consist largely of matching languages to the design methods they support.

I'd like mostly stuff for design, because I like to design clothing.

Design is a funny word. Some people think design means how it looks. But of course, if you dig deeper, it's really how it works.

Design needs to be plugged into human behavior. Design dissolves in behavior.

I love to accent movement. The eye goes to where the white is - you know, the glove. And the feet, if you're dancing, you can put an exclamation point on your movement if it has a bit of light on it. So I wore the white socks. And for the design of the jacket, I would sit with the people who made the clothes and tell them where I wanted a button or a buckle or a design.

Problems with visual design can turn users off so quickly that they never discover all the smart choices you made with navigation or interaction design.

Museums are important. Design and art schools are important because they show how it should be done at the highest level of quality. Once people are exposed to quality, they recognize it right away and they appreciate it. People's tastes are changed by exposure to quality. Unless they can see it they can't want it. That's the brilliance of Apple - they provide quality in design.

Urban design is where the number are and easy size of installation plus the fast lessons to extend out to larger design acreage.

I am one who is very meridione - Southern Italian. I am proud of this. I design everything with my team, which is fantastic and small. I design by look. For example, people always comment to me, "When you do men's shirts, you always keep them closed on the catwalk." That's my thing.

On every hand there seems to be design to defeat design. If God created man - if he is the father of us all, why did he make the criminals, the insane, the deformed and idiotic? Should the mother, who clasps to her breast an idiot child, thank God?

Law is justice. And it is under the law of justice - under the reign of right; under the influence of liberty, safety, stability, and responsibility - that every person will attain his real worth and the true dignity of his being. It is only under this law of justice that mankind will achieve - slowly, no doubt, but certainly - God's design for the orderly and peaceful progress of humanity.

An effective lighting design is like a beautiful painting. Your medium is bringing someone to an emotional state he or she would not achieve at that moment without your art. This does not and can not happen by accident.

And I'm the first one to tell people to break the rules. But you can only break the rules once you know what the rules are. The other thing is, fashion is the last design discipline to actually have academic texts and historical analysis.

Sometimes clients have a sophisticated view of their design problem, sometimes they do not. I often spend time with the client redefining the problem, going back to the beginning. Often the problem is just a symptom. Sometimes you have to move back in order to move forward to understand what the nature of the solution should be.

My dreams are my work. I design out of the things that I love.

Craft is not a category; it's a means. The folks running the museum [Museum of Arts and Design]are sharp, and they know this, but they are in a bind.

The motors I build there were exactly as I imagined them. I made no attempt to improve the design, but merely reproduced the pictures as they appeared to my vision and the operation was always as I expected.

The Enemy wants to bring the man to a state of mind in which he could design the best cathedral in the world, and know it to be the best, and rejoice in the fact, without being any more (or less) or otherwise glad at having done it than he would be if it had been done by another. The Enemy wants him, in the end, to be so free from any bias in his own favour that he can rejoice in his own talents as frankly and gratefully as in his neighbour's talents--or in a sunrise, an elephant, or a waterfall.

Good design today requires more vision (a larger point of view versus the single brilliant idea), more consistency (a deeper underlying structure of language and form versus the simple, uniform application of visual elements) and more patience (persistence over time versus creative authoritarianism).