Quotes of All Topics . Occasions . Authors
Humor has the tendency to be funny once. If I tell you a joke, we're going to have a big laugh. But the second time I tell the joke, it's going to be a bit strange, and the third time you're going to ask if there's something wrong with me. So I am very cautious with jokes, but there is a lightness in my work.
When I'm drawing, I'm drawing with the light, being completely open and creative. I can't draw in the evening. I need light and I need warmth if it is a summer thing, and I need cold if it is a winter collection. The good thing is that I have houses to go to whenever I'm working. I draw according to the place.
At the end of the day, customer choice is essential. And we don't make products that compete with Apple, nor make products that compete with Google. Our customers come in both iOS and Android flavors, and I hope our customers can still buy the products they want to purchase wherever they want to purchase them.
Sometimes, we need an obstacle to challenge us and push us further than we would if things were always status quo. I'd say one example is the market crashing. It's like, just when we started to get into a rhythm, everything changed! But, it taught us a great deal about how we do business and how we can improve.
I was sitting alone in a grim mood - furious that the press attacked Senator Edwards on the price of a haircut. But it inspired me - from now on, all haircuts, etc., that are necessary and important for his campaign - please send the bills to me... It is a way to help our friend without government restrictions.
I had a few problems. I didn't realise it until I started going to therapy. I did it for 10 years, two days a week, and pretty quickly I understood that a lot of my suffering, many of my issues, were rooted in my realising that I was gay when I was a little boy. I knew I was different. That made me very fragile.
When you're doing something for the first time, you don't know it's going to work. You spend seven or eight years working on something, and then it's copied. I have to be honest: the first thing I can think, all those weekends that I could have at home with my family but didn't. I think it's theft, and it's lazy.
I was sitting alone in a grim mood - furious that the press attacked Senator Edwards on the price of a haircut. But it inspired me - from now on, all haircuts, etc., that are necessary and important for his campaign - please send the bills to me. ... It is a way to help our friend without government restrictions.
I'm always doubtful. Everything I do is always doubtful. When you're trying to differentiate, there's going to be this gut sense, is this right? If you're not having doubt, then you're not pushing it hard enough, or you're not looking at the details close enough. You need to be feeling that doubt every single day.
I prefer girls to wear dresses because I like how they influence a woman's body language. I also love skirts. One of my favorite pieces of clothing is the pencil skirt because it obliges the wearer to have a pretty attitude. I like anything that shows a woman's legs because I love to see her skin and how she walks.
One of the first gardens I did outside the family was for the designer Hattie Carnegie. I was 23 then, and I went to her salon, but could not afford any of her dresses myself, though I loved them. Miss Carnegie suggested I do a garden in exchange for a coat and dress, and so I designed and planted a garden for her.
I'm involved in everything from highly progressive lighting systems to airline interiors. In the field of transportation I can go from the micro to the macro: architecture, transportation, industrial product design, right across the board. It's Russian dollism, because they all interrelate: one goes into the other.
I like Adele, Mika, Natacha Atlas and a beautiful old record, 'An Evening with Belafonte/Mouskouri,' starring Harry Belafonte and Nana Mouskouri. What they have in common is they all have incredible voices. I am very much into voices. I would say I'm a fan of voices, not of sound. I'm a fan of singers, not of bands.
There's rock n' roll in hip-hop, there's rock n' roll in pop music, there's rock n' roll in soul, there's rock n' roll in country. When you see people dress, and their style has an edge to it, that rebellious edge that bubbles up in every genre, that's rock n' roll. Everybody still wants to be a rock star, you know?
For me, sensibility is the location of talent. Sensibility comes first because only with the right kind of sensibility is talent useful. I've met many people who are extraordinarily talented but have no capacity to go outside of themselves or their field. I love those people, but they would not succeed in our culture.
I wanted to be involved with the making of some kind of parallel world. I thought, there's no reason to go to different parts of our world, because you can write them. You can stay home, stay in a little room, and imagine all these worlds. And I wanted to do that. Why did I want to do that, I'm not sure if I can tell.
In a startup car company, everything you do has to be done in a different way than a traditional car company. And the main reason is that all of these big car companies are operating like giant well-oiled machines - you could put a very seasoned executive in, and all he has to do is make sure the machine keeps running.
Sustainability has become a religion in architecture - not that there's anything wrong with it - but I think it has to work both ways. Everyone thinks architecture has to be subservient to sustainability, but what if we thought in the other direction, like, what can sustainability do to make architecture more exciting?
The music alone wasn't enough. It was great, but when an artist had an amazing look - like the MC5, or the Stooges, or Alice Cooper - you really got sucked in. The wardrobe was so important. At a show, you were engrossed in the music, but you were also engrossed in everything from the haircuts to what they were wearing.
I am extraordinarily fascinated by the future of technology. We are in the early infancy of technology, and we have an opportunity to guide how technology develops and integrates into our lives. I talk a lot about the 'invisible interface,' or the idea that we can utilize technology without being absorbed into a screen.
People say: 'Models are so young, they're so skinny.' But Mr. Balenciaga used models at 16, and that will never change. People say they are skinny, but there is a difference between skinny and sick. If someone is sick, they're sick. It's not because of fashion. If I have flu, I have flu; it's not because I work in fashion.
I know it's a cliche, but I see myself as a citizen of the world. I was brought up in Switzerland by German and Turkish parents but I've very much grown up in San Francisco. I have a European sense of aesthetic, but I'm also deeply steeped in the notion of change and entrepreneurship that is associated with Silicon Valley.
I think what makes me different is that... I am comfortable with expressing my vulnerability. I think designers often want to just put the loveable ideas out there. Ones that are imaginative but not very introspective. It is more rare for a designer to explore his or her disappointments and moments of disillusion and doubt.
The book recounts stories from my half-century of experience in the world of architecture and my journey of discovery of the importance of considering humans and nature as part of any project. It’s illustrated with my own watercolors I hope it will inspire the next generation of architects to design places we can all enjoy.
My memories are of denim. I remember being 12 in my Levi's. Wow! As a teenager in Milan, I was really fascinated by Fiorucci, but at the time I was not rich enough to buy. Oh my God! I made a collection of Fiorucci shopping bags, and my mother, she still has them and my stickers, and now I invite Elio Fiorucci to our shows.
In my whole life, I've worn black tie three times. I can't tie the knot myself. Once, at the premiere of the opera, I got to La Scala before Domenico, and I was hiding in the corner until he arrived, and I said, 'Quick, you have to tie my tie, please!' Otherwise, I'll wear a tuxedo jacket with jeans and my bling-bling cross.
Sometimes when you come from outside a discipline you pay attention to things that insiders take for granted. I admit that sometimes I feel hesitant in the midst of other architects. I can't help thinking that they know more than I do, but I also feel that maybe I can go in directions they learned you're not supposed to go in.
I inherited this collection of vinyl records, which at that time numbered 6,000, and I've since continued to collect music. As you know, vinyl records can be very heavy, so every time I have to move into a new house, I need to build a complete new wall of shelves to put all these records, which is a nightmare for the architect.
The minimum could be defined as the perfection that an artefact achieves when it is no longer possible to improve it by subtraction. This is the quality that an object has when every component, every detail, and every junction has been reduced or condensed to the essentials. it is the result of the omission of the inessentials.
Music has always been a dominant force in my life. As a young kid, it was a way for me to escape everyday life. Today, it's a source of expression. I enjoy looking at old photos of some of my favorite rock icons, but also get inspired from the younger bands that are coming up and really creating their own style, their own image.
I remember someone once said there is a practical aspect to my designs, and I remember thinking, 'That doesn't sound so creative,' but that is actually the truth. There is a practicality to it. I don't design just to design. There is a reason and, hopefully, an interesting reason behind it - that is where my creativity comes in.
I grew up with a pencil. A pencil was my computer at the time and so drawing, drawing, drawing and the tools of drawing where the usual ones and eventually then you graduated from the tools when the work increases and you start to draw by freehand as precise as possible and as accurate as possible, and I was pretty good at that.
Yes, the fear of its blankness. At the same time, I kind of loved it. Mallarmé was trying to make the page a blank page. But if you're going to make the page a blank page, it's not just the absence of something, it has to become something else. It has to be material, it has to be this thing. I wanted to turn a page into a thing.
I came from the time of so-called New Criticism - the poem in itself, the writing in itself - but around that time I had come across a critic called Kenneth Burke, who wrote a book called A Rhetoric of Motives, and it seemed to talk about another way, and gradually I realized that other way was that the reader made a difference.
I work from home a lot. I think I get as much work done at the office as at home, and I'm used to working with people who don't work in the office. I don't really care where they are, even if they're on a banana leaf somewhere. If they deliver their work, I am completely fine. I don't need someone sitting at their desk to produce.
Dreaming is a form of action. Idleness is a form of action. The idle man stares at the sky and sees what constitutes our eternal ceiling. The sky is one of the things that constructs us, one of our constants. But it is not what people believe. I should like to close this circle by turning over in my bed and scrutinizing the stars.
Scale is a mental - you can say that a lounger has scale, a building has scale, or an object has scale, or a page, or whatever if it's just right. A scale is a relationship to the object and the space surrounding it. And that dialogue could be music, or it could be just noise. And that is why it is so important, the sense of scale.
In the past, people couldn't place me. They thought that I was Danish or English or French. They never got that I am Italian. I'm not typical, maybe because my visual education was very mixed. There was a lot of London in my aesthetic: The Face, i-D, British music, and a lot of British fashion . . . But I really enjoy this contrast.
Yeah, it's not that I wanted to do a painting, I wanted to do writing like that. What jolted me about Jasper Johns was how important it is to start with a convention, how important it is to start with what everybody knows and everybody takes for granted, whether it's a number, an alphabet letter, a set of alphabet letters, a target.
I have a long list of how people call me: 'The Prince of Design,' 'Beethoven of Design,' 'the Dutch Prince of Design' and the list goes on and on and on... and also the 'Lady Gaga of Design!' I am fine with it. I think she is an amazing character who has innovated the music scene and is respected by so many people; she is surprising.
Men's clothing hasn't changed in 200 years, maybe a lapel gets a little wider or a tie gets narrower from time to time. But it's usually always the same. There is stupidity in men's fashion. But women know who they are. They can change. Clothing is seductive for women. They get different personas by buying new clothes. But men don't.
[To] mechanical progress there is apparently no end: for as in the past so in the future, each step in any direction will remove limits and bring in past barriers which have till then blocked the way in other directions; and so what for the time may appear to be a visible or practical limit will turn out to be but a bend in the road.
The biggest challenge is that when people look at low price point products, they essentially invest less money in development, innovation, and new technology. And in order to innovate at a lower price point, and make sustainability attainable to the masses, you have to invest more. But that's counterintuitive for a lot of businesses.
For each project I do, I try to surprise myself, do the unexpected, and change my own status quo. From the One Laptop Per Child, the Herman Miller Sayl, or the latest Movado watch collection, there is always an insecurity about being able to do something important. I think each of those projects makes me feel like we have progressed.
Both Italy and Britain have a great tailoring tradition. British men are famously elegant and careful with their style: they love to have their clothes tailored, and they often have a trusted tailor who is passed on from father to son. Plus you have this great textile and fabric tradition, which has been a source of inspiration to us.
I think we still have a love for cars, and whether you're going to be driven in a car or whether you drive the car yourself, I think most people still want a good-looking car. That's the reason why, when you order a cab, you prefer a sedan over a minivan to pick you up because it just isn't as cool to be driven somewhere in a minivan.
I saw the Vietnam Veterans Memorial not as an object placed into the earth but as a cut in the earth that has then been polished, like a geode. Interest in the land and concern about how we are polluting the air and water of the planet are what make me want to travel back in geologic time-to witness the shaping of the earth before man.
The Maier woman is not a woman who doesn't have fun. My woman is not a woman who doesn't have a life. I like clothes to suggest something. I'm gay, but so what? I still have that sensibility that I like to look at a beautiful woman, and I'm as intrigued as any straight man. I probably look even harder because I like what you don't see.
Women tell me they won't date a guy with bad shoes. There are good-looking guys with good-looking outfits, and then really bad-looking square toe I-don't-even-want-to-mention-the-label kind of shoes. There is no reason for that. Again, invest in something that looks proper. A great pair of shoes can make your old outfit look great, too.
I truly believe that we're about to enter a second golden age of design. The first one was in the '50s and '60s, when designers like Raymond Loewy, Charles Eames, George Nelson and Dieter Rams were shepherds of the brands they were working with. They had influence over the products and how companies communicated and promoted themselves.