Quotes About Design

One thing I detest, I have to say, is when a shoe is too soft, and it's molding to the foot. This is quite disgusting. And I really, really hate incredibly long shoes, where the last is very pointy, almost like Aladdin.

I'm all about my rugs. I don't like a lot of color. The apartment isn't exactly monotone, but it's full of very soft shades. So, really, the fun is with the carpets.

What I've been trying to do with my art, which has been feeling very graphically sharp - to soften it up and make it feel more hand-done.

Software is a great combination between artistry and engineering.

The problem is, in software design, often the consequences of your decisions don't become apparent for years.

There's a fundamental problem with how the software business does things. We're asking people who are masters of hard-edged technology to design the soft, human side of software as well. As a result, they make products that are really cool - if you happen to be a software engineer.

Apple's advantage is that it designs and builds software together, so if the software isn't excellent, it does the superlative hardware a disservice.

In software design, it's all about making a guess, trying it, and then learning from the experience.

What I believe is that Nintendo is a very unique company because it does its business by designing and introducing people to hardware and software - by integrating them, we can be unique.

I think of fashion as an art form as well as an industrial product - and something that has to be sold well and has to be of high quality.

We have design capability, which everyone thought we sold to Microsoft, but we didn't sell it. We will maintain the Nokia feel in all our products. We can't have different products, each feeling different, in the market.

The core of my work is dedicated not to pleasing women, but to pleasing men. Men are like bulls. They cannot resist the red sole.

I'm an architect. Before you start pouring the concrete, you build a foundation that is solid so that when you take the scaffolding down, it holds - forever. So that when junior high schools are doing 'Hunchback,' a 12-year-old as Frollo still works on some level.

I always treat camo as a solid.

Making the solution seem so completely inevitable and obvious, so uncontrived and natural - it's so hard!

We try to develop products that seem somehow inevitable, that leave you with the sense that that's the only possible solution that makes sense.

We have to rethink the way we light our cities. We have to think again about light as a default solution. Why are all these motorways permanently lit? Is it really needed? Can we maybe be much more selective and create better environments that also benefit from darkness? Can we be more gentle with light?

Sometimes, you start with the drawing and then the gag comes to you in the middle of it. That is when you start working on the solution of the gag, which is composition, placing, equilibrium, and character design.

I see a problem and I invent some sort of solution to it.

In my opinion, as an engineer, a bridge is the most difficult thing you can do. You are not working in the direction of gravity but against it - so the problem opposes the solution.

Cities are not problems. They are solutions.

The designer must understand that form does not follow function nor does form follow a production process. For every use and for every production process there are innumerable equally attractive solutions.

In my own work, I'd say I'm a classicist, but I look everywhere for my solutions. I don't study the toilet-living habits of my clients, although that's a popular approach. First, I think of every building in history that has been similar in purpose. Then I think of the functional program - that's a major part of the study.

The way we do our architecture is to show that we can come up with our own solutions. We don't just take orders.