Quotes of All Topics . Occasions . Authors
People have this impression that I'm a little kooky, but I'm actually very OCD. I love order and organization. I'm a big list maker. But if I cross off too many tasks, and it's hard to see the remaining ones, I have to start a new list. Now that's OCD.
Forms in nature are a byproduct of a reciprocal action between a given material and the conditions of the environment. But in architecture, the process is the direct opposite: First you decide on the form, and then you think how to build it in reality.
For instance, some early ideas for Florida were done only recently. The idea of a little village was there from the beginning and now we have this "Celebration" village. Same thing for the Disney Institute. Walt talked about this idea in the very first.
For instance, some early ideas for Florida were done only recently. The idea of a little village was there from the beginning and now we have this 'Celebration' village. Same thing for the Disney Institute. Walt talked about this idea in the very first.
Some people have a concept of design: that it should be without the maker. I have been educated in this way, the traditional way. But I am not naive. I know that we make my things, and that people want them. I am signing them - and I am winking at them.
When I heard of the 'garden bridge' idea, it seemed so clear and powerful, the notion of using nature to scale down an enormous piece of potentially wind-swept exposed link. That's what struck me - not treating the bridge just as a link, but as a place.
Fruit in the morning is such a big joy for me. I like to grab fruit from the tree, et cetera. I don't feel that way with vegetables. Fruit, you can eat it at any time, any moment, in any type of situation. I like everything about fruit; I like the color.
Our fashion is for everyone and, throughout the years, we have had the possibility of working with the world's most beautiful and charming women and men. There is no person in particular who we would like to work with that we haven't already worked with.
I suppose that every time there is difficulty. I remember about Space Mountain: It took us ten years before we found the technology that would allow such a ride. And during these ten years, I had a model that I kept, waiting for the technology we needed.
I had to put the company through a reorg, raise a new round of financing, and sort of press the restart button. But my feeling was that I wasn't going to be bullied. I wasn't going to let them take me down. I had to pull myself together and move forward.
Tesla has defied everyone's predictions again and again. It has such a unique position in the market, and so far, whatever people think about Tesla and its business model, there is one fact that nobody can dispute: It pretty much has the market to itself.
My mum was very conscious about fashion and my dad was born into the tailoring tradition, so fashion has always been my life, although now, really, I wear the same thing - just in different weights - light and heavy cashmere in winter and cotton in summer.
When I come up with an idea for the collection, it's usually very precise, and I would say that every time, you're going to see that idea on the catwalk. It will go through ups and downs, but it's not going to be changed in the last month, that's for sure.
Of course, it gave the studio an enormous power, because I don't know any other place who had that skill with images to communicate with. And the need of these kinds of images are even greater now than they ever were because we are losing our life symbols.
Love your experiments (as you would an ugly child). Joy is the engine of growth. Exploit the liberty in casting your work as beautiful experiments, iterations, attempts, trials, and errors. Take the long view and allow yourself the fun of failure every day.
I can hold a cup of sake on a full moon in Japan, and the reflection of the moon in that little cup can make me feel so enthusiastic about beauty. That one good, magical moment can give me enough to create other things like the teardrop earring or necklace.
So much of what we try to do is get to a point where the solution seems inevitable: you know, you think "of course it's that way, why would it be any other way?" It looks so obvious, but that sense of inevitability in the solution is really hard to achieve.
When you're trying to solve a problem on a new product type, you become completely focused on problems that seem a number of steps removed from the main product. That problem solving can appear a little abstract, and it is easy to lose sight of the product.
I am jewelry and objects together. This is the Elsa Peretti name to me. It is a very good balance for me to try and create with the person in mind or with the space in mind - to imagine a bowl of fruit or something for water. It is a little bit yin and yang.
As a car lover, I ask myself, 'What am I going to be buying in the future? Will it be a boring, underpowered, dorky car because the government tells me I shouldn't pollute? Or do I come up with a cool-looking, sexy dream car that is also part of the future?'
It's just easier to talk about product attributes that you can measure with a number. Focus on price, screen size, that's easy. But there's a more difficult path, and that's to make better products, ones where maybe you can't measure their value empirically.
I've got lots of friends who are musicians, and there is a fair proportion of broken marriages and relationships as a result. You are on the move all the time. It's difficult if you have kids, and it's hard to make money unless you are in the premier league.
My business savvy it’s instinct. Everything I do is just really my intuition, and every time I go against my intuition, it’s a mistake. Even though I may sit down and analyze and intellectualize something on paper, if I go against my gut feeling, it’s wrong.
Fuseproject was founded in 1999, and the notion behind it, which is alive and kicking today, is fusing different disciplines. Our teams are absolutely incredible at their own discipline, but most importantly, they're incredible at partnering with each other.
I'm not the type of person who feels bad about things before. I choose what to do at the moment, and I have a very good reason for it; otherwise, I don't do it. If later my feelings change, I should celebrate now by being more wise, not feel bad about before.
I suggest we take our heads out of the tar sands and look up to see the sun. We don't own it, but it provides us all with great, endless value. So, too, the wind. These free, renewable sources of 'energy currency' are perfect partners to what we own together.
One of the things that is particularly precious about working at Apple is that many of us on the design team have worked together for 15-plus years, and there's a wonderful thing about learning as a group. A fundamental part of that is making mistakes together.
I've always liked the idea of making things that last forever, not necessarily in the sense of being unbreakable, but more psychologically permanent. Most people throw stuff away not because it's broken but because their relationship with that object is broken.
My mum is totally crazy for fashion still. Her job was as a laundress, but I loved it when she would dress up in her red suit with a mini jacket and flared trousers and get her wig fixed at the hairdresser's - it was the time of wigs - and we would go shopping.
I always thought of writing as public, I never thought of writing a diary. I had been struck by, jolted by things I had read, and I wanted to do the same to others. I don't think it ever was the notion of an autobiography; I skipped that phase totally, I think.
It is sad that so many designers don't know how to make. CAD software can make a bad design look palatable! It is sad that four years can be spent on a 3D design course without making anything! People who are great at designing and making have a great advantage.
We need to treat the planet as a system, and up until now, we've operated more as if the world were made of separate parts - this part is environment, this part is economy. But everything is connected. You can't fix global warming with a Ph.D. in thermodynamics!
It was very tough with Madonna at the beginning of the meeting because I was very embarrassed. But I'm a strong woman who knows what I want and what I'm doing, and I think that when you have very clear ideas in your life, you can have conversations with everyone.
[Photography was necessary to] make my place in the art-world: in order to do this, I had to make a picture, since a picture was what a gallery or museum was meant to hold (all the while, of course, I was claiming that I was denying the standard, rejecting it...)
I never wanted to work in fashion. At age 12 or 13, I wanted to design for showgirls - for the theater! And I was crazy for the Hollywood of the 1950s: Dietrich, Elizabeth Taylor, Jennifer Jones. They were my idea of glamour - and Sylvie Vartan, the French singer.
The great thing about the Guggenheim is that you can see art in the fastest way if you want to. Which isn't bad. It's almost like Frank Lloyd Wright didn't know something called the Internet was going to exist, so he made it so you can go down as fast as possible.
Being on Oprah? You realize that there are a couple of types of audience members. There are like the cult people in the audience who are just crying before she gets on. And then there are the people who are playing it cool. I definitely was somewhere in the middle.
In live action movies, you just hope that everything works. Because the actor may had a bad morning and doesn't play good, or accidents happen continuously. Many things contradict what you are trying to say. But in cartoons, nothing contradict what you want to say.
In the early '70s, coming out of the '60s, it was very hippy or it was very uniform, like The Beatles all wearing the same suit. Into the '70s, it became much more about a personal style. You had the glam period, which was a lot of fun, and then you went into punk.
I object to the hegemony of form in contemporary architecture. We have very advanced technological tools, but ultimately, we create buildings exactly like we used to before: We send the drawings to an engineer and let him struggle with figuring out how to build it.
Nothing is impossible. Whatever idea comes up, we always try to make it. Sometimes it doesn't work because it's just not technically achievable. But you can always make things better, more contemporary with the construction, the inside, the weight, and all of that.
Well, you can say there is a self driving car. I'm seeing the automation of vehicles. Really, computer-assisted driving. I think that is really interesting to us because we are taking all of the sensors technologies and putting them in cars and making people safer.
I would like to design a really cool watch. I've done a little bit of watches in the past, but I didn't have a lot of freedom because it was already sort of set in stone, everything around the watch. So I think a watch in the future would definitely be in the cards.
A journalist and an information architect face exactly the same problem - how to give shape to the pile of information in front of you in a way that will make it easy and natural for people to comprehend. I can't imagine any better preparation for the work I do now.
There is always a reason behind things that are made, and if there isn't, there will be one when they travel through the world. The objects of beauty are used to impress, seduce, overwhelm, make money, support identities, and show power or style, among other things.
I love the fact that I work with everything that has to do with the brand, the product, the environment, the online, the architecture, the web design, because I am somebody that loves making things, making experiences, creating things that people love to engage with.
It is easy to fail when designing an interactive experience. Designers fail when they do not know the audience, integrate the threads of content and context, welcome the public properly, or make clear what the experience is and what the audience's role in it will be.
The analogy I use is that 'World of Warcraft' is like going to the mall: you see a ton of people there, but you don't really want to interact with them; you just want to know you're part of the human race. And if you get in trouble, you'll know someone else is there.
We are borrowing money from future generations. We are borrowing the carbon impact, the resource impact from future generations to get stuff cheap now. We have swept the dirt and dust from our society under the carpet - but this carpet is on other side of the planet.
MAC allowed me to have complete freedom on the collaborations—from the shades, the look-and-feel, to the campaign visuals. I have to admit that the visual aspect of the collection excites me most. For designers, we care about the photographs much more than a Ferrari.