Quotes of All Topics . Occasions . Authors
I decided to go to school for advertising and graphic design. That was what I was gonna do but acting is that thing, it's like a splinter in your mind and you can't get rid of it. So I decided to move to L.A. a few years ago and it just snowballed into this thing called 'The Hunger Games.'
My documentaries have always been very much constructed in the spirit of dominant cinema. From the time I started making non-fiction, I was mainly interested in designing and creating documentaries like fiction, so it was a natural evolution to try and embark on doing a dramatic narrative.
Once I tried to make a standardization of staircases. Probably that is one of the oldest of the standardizations. Of course, we design new staircase steps every day in connection with all our houses, but a standardized step depends on the height of the buildings and on all kinds of things.
Many feel that sitting at a screen sweating over the design of handrail details for the next cute downtown boutique hotel just doesn't make sense when more than 150,000 people have lost their lives, more than five million people have been made homeless and whole towns have been swept away.
There are many possible approaches to Australian garden design, and they all reflect the designer's individual response to gardens. For my part, I love all things most gardeners abhor... I like the whole thing to be as wild as possible, so that you have to fight your way through in places.
The divine glory is an object only worthy of attention; and to display his holy character, was the design of God in creation; as there was no other beings existing antecedent thereto, to attract the mind of Jehovah; and we are sure that God is pursuing the same thing still, and always will.
I always take care to have interesting chord progressions, because you can have the best sound design in the club, and you'll kill it in the club, but in five years, kids will have better sound design. But if your music is good, you'll always be able to listen to it, even in 20 or 50 years.
If you want to communicate something, youd better make sure that your design piece is well-dressed and that its teeth are fixed. At the same time, I still believe that if it is only stylistically great and it has nothing to say, it still is not going to make a lasting impression on anybody.
Overemphasis of efficiency leads to an unfortunate circularity in design: for reasons of efficiency early programming languages reflected the characteristics of the early computers, and each generation of computers reflects the needs of the programming languages of the preceding generation.
Leon Theremin's original designs are elegant, ingenious and effective. As electronics goes, the theremin is very simple. But there are so many subtleties hidden in the details of the design. It's like a great sonnet, or a painting, or a speech, that is perfectly done on more than one level.
Too much of what passes for design now is theater. It's one thing to be eccentric- and by the way, most eccentrics tend to be rather well-educated people - and quite another to be a faddist, by which I mean someone who tries to conjure a totally foreign aesthetic in a misplaced environment.
I think fashion is a lot of fun. I love clothes. More than fashion or brand labels, I love design. I love the thought that people put into clothes. I love when clothes make cultural statements and I think personal style is really cool. I also freely recognize that fashion should be a hobby.
Traditional horizontal search engines cannot always identify the target audience, niche or vertical industry of a page or site. Vertical search engines address this issue by the nature of their design. They identify sites according to more specific criteria and sometimes even by human input.
The problem with State of the Union speeches is that they are, by their nature and design, alphabet soup. It's hard to know what a president really cares about when they run down a laundry list and check every issue box under the sun for fear they will offend some constituency if they don't.
If you want to communicate something, you'd better make sure that your design piece is well-dressed and that its teeth are fixed. At the same time, I still believe that if it is only stylistically great and it has nothing to say, it still is not going to make a lasting impression on anybody.
Large multinational corporations, often acting through their industry lobbies, exert a powerful influence on the formulation of domestic rules and on their application - but their influence on supranational institutional design is even larger because it faces practically no opposition there.
Simon Collinson, of digital publisher Canelo and über-cool Aussie mag The Lifted Brow, is our digital producer; Sarah Shin, Verso's comms director, is helping us out with press publicity; Soraya Gilanni, who mainly does production and set design for films and commercials, is our art director.
We look at life from the back side of the tapestry. And most of the time, what we see is loose threads, tangled knots and the like. But occasionally, God's light shines through the tapestry, and we get a glimpse of the larger design with God weaving together the darks and lights of existence.
I never wanted to design clothes. I never wanted to work for the fashion industry. Shoes sort of belong to the fashion industry, which is why I'm part of the fashion industry. But that's never been my thought. My thought since I was a child was really to design those shoes for girls on stage.
That's a hobby of mine - to do whatever I can for unusual for-hire creative projects. I am waiting for someone to really challenge me - obviously I'm often approached to do film related work, but I would be very happy to design a bar or an amusement park ride. I would love to be an imagineer!
With the Larry Bertlemann portrait, I started with a photograph that I could use for it. I built the drawing's identity to serve as a graphic identity. After a number of sketches, I went into my own abstract vernacular of drawn lines and shapes to create the composition for the poster design.
Hunts Point Revival's reuse of the existing structure as part of the new development was conceptually bold and challenging. Overall, the project contained a good blend of creative sustainable design elements. The solar room for heating and ventilation was particularly creative and convincing.
Few developments central to the history of art have been so misrepresented or misunderstood as the brief, brave, glorious, doomed life of the Bauhaus - the epochally influential German art, architecture, crafts, and design school that was founded in Goethe's sleepy hometown of Weimar in 1919.
Design cannot be heard or read, it must be seen. Design is the structural link between the customers and the product. Content must be brought to the surface. And when a design is completed, it should seem natural and obvious. It should look like it is always been this way. And it should last.
Buffalo is one of America's great designed cities. The interweaving of great architecture, landscape architecture and important historic sites makes Buffalo a must see destination for preservationists, designers, history buffs, and anyone wishing to see an inspiring example of American design.
When I design and wonder what the point is, I think of someone having a bad time in their life. Maybe they are sad and they wake up and put on something I have made and it makes them feel just a bit better. So, in that sense, fashion is a little help in the life of a person. But only a little.
In fashion design, you can divide people into two groups. You have people who come with an aesthetic that is there forever, even if it evolves. Then you have people I call 'jumpers.' One season it can be this; the next season it's completely something else. I always knew I am more of a jumper.
Complacency with our traditional judgement based thinking methods is not enough. Our existing thinking habits are excellent just as the rear wheel of a motor car is excellent but not enough. We need to put far more emphasis on creative and design thinking. Judgement and analysis are not enough.
Designful companies are those that weave design thinking into the fabric of the company. In a designful company, innovation is rewarded instead of punished. Risk taking is the norm instead of the exception. Some companies have already embraced this type of culture change with impressive results.
Financial operations do not lend themselves to innovation. What is recurrently so described and celebrated is, without exception, a small variation on an established design . . . The world of finance hails the invention of the wheel over and over again, often in a slightly more unstable version.
The French, whose fascination with 19th-century Japanese painting and decorative art led them to coin the term 'Japonisme,' have reciprocated the interest, and the exchange - in food, fashion and design - is ongoing. After all, these are two countries where style is considered essential to life.
I can't wait to design the performance. I want to make a moment that is about much more than me. Performing in space is such an honor. I want to challenge myself to come up with something that will not only bring everyone together but will also have a message of love that blasts into the beyond.
Let's forget about themes and mood boards. Let's start from a different point of view. You have to leave for two months all of a sudden. What would you put in your suitcase? What are the twenty essential pieces that you will need and how would you design it to be cool, and you'll want to wear it?
The industrial real estate market completed one of its strongest demand cycles in history as several factors ignited the fire. For projects coming on line in 2005, record-low interest rates during the design phase 12 to 18 months prior provided additional incentive for development and absorption.
When your arms are out wide, you'll capture love and joy and golden moments but other things, too. Mistrust will sneak in on a wave of that joy, and complications will ride the backs of the golden moments, and there will be both love and the risks of love. That's the way it is. That's the design.
I'm not really well educated - other than an art survey course at the High School of Art and Design in New York when I was, like, 15. I don't know the history of art, but I got over intimidation from the art world when I realized that I was allowed to feel whatever I want and like whatever I want.
When I started coming to do shows in New York, New York had a pretty electric energy then. It was the early-nineties, and there was a lot of really fun theatrical types that were designing, and so the runway kind of became this stage for all of these mega model personalities to flaunt their stuff.
I learn my lines while on the golf course. I try to do two or three things at once. I have ideas for books all the time, I have ideas for paintings all the time, and I write them all down. I take my sketchpad and my iPad, which I design on, and I do sit down and do specific tasks at specific times.
When the Great Fire of London destroyed most of the medieval city in 1666, Christopher Wren was invited to design a new one. Within days, he had drawn up an elegant grid of broad boulevards leading to majestic squares, but it came to nothing - the existing landowners wanted things as they had been.
I employ case studies of failure into my courses, emphasizing that they teach us much more than studies of success. It is not that success stories cannot serve as models of good design or as exemplars of creative engineering. They can do that, but they cannot teach us how close to failure they are.
Compared with now when almost everyone knows what graphic design is and has some sort of access to the tools to make it, back then, it was really esoteric, you had to quantify it as being 'like commercial art', as one still does in certain circles. It was a strange thing to want to do for a living.
It is hard to resist the impression that the present structure of the universe, apparently so sensitive to minor alterations in numbers, has been rather carefully thought out...The seemingly miraculous concurrence of these numerical values must remain the most compelling evidence for cosmic design.
There is no one-size-fits-all solution to the challenges facing our cities or to the housing crisis, but the two issues need to be considered together. From an urban design and planning point of view, the well-connected open city is a powerful paradigm and an engine for integration and inclusivity.
We are reviewing our experience to enable us to respond to the cultural challenge: to help countries, communities and individuals interpret universal principles, translate them into culturally sensitive terms and design programmes based on them, programmes that people can really feel are their own.
One universe, four forces, billions of galaxies. The precision and complexity of our world is enough to make even the famous cosmologist go just a little bit crazy. How does it all fit together? Is there a single, overarching design to the cosmos? And if we find it, will we glimpse the mind of God?
Every now and then life sold you an illusion of design. A coincidence, a parallel, a sledgehammer symbol. The goods were always faulty. You forked over the cash only to discover they'd fallen apart by the time you got home. But life kept at it. Life couldn't help it. Life was a compulsive salesman.
The genome was once thought to be just the blueprint for a living organism, like a combination of the architect's plan for a building and the builder's list of supplies. It specified the parts, the building blocks, and, somehow, the design of the whole, the way in which they are to be put together.
When I'm doing kitchen planning as well as bathroom design, I try to walk through the day with the homeowner. If we're talking about a kitchen, it will be: So, we are walking in with the groceries. When we are taking them out of the car, where will they go? What is the distance to fridge, to pantry?
The source of innovation is freedom. All we have - new knowledge, invention - comes from freedom. Discoveries and new knowledge come from freedom. When somebody is responsible only to himself, [has] only himself to satisfy, then you'll have invention, new thought, now product, new design, new ideas.
There's something wrong - the performance, the weather, the set design, the lighting. Something is not working. And so you say, "Give me 10 minutes." When you're first directing, you're terrified. But when you've been in that situation enough times, you know that under pressure, it will come to you.