Quotes About Design

You are a manipulator." "I like to think of myself more as an outcome engineer.

Kicks from Ed Hardy

George said just off the top of his head, 'I'd like to see a metal castle in the snow,' Ã¢â'¬Â McQuarrie says. "George was looking for a place to put Vader's office." In one entry, Lucas seems to have reconstructed how he arrived at the name Darth Vader—a combination of the words dark, death, invader.

I am tremendously excited to introduce a unique 'Metal Gear Solid' experience to a new audience of gamers as well as collaborate with my mentor in game design, Mr. Miyamoto, on 'Metal Gear Solid: The Twin Snakes' for Nintendo GameCube.

I think the Olsen twins' line, The Row, has some cool stuff. And I'm kind of obsessed with a clothing line called Stop Staring. It has a lot of vintage-type dresses that are retro '40s and '50s inspired.

You see it in the many bouncing clothes that are not just pleats. To make them, two or three people twist them - twist, twist, twist the pleats, sometimes three or four persons twist together and put it all in the machine to cook it.

I like timeless and classic pieces with an interesting and modern twist. And I love a little funk!

I give a glamorous twists to rangolis by combining it with beautifully crafted diyas.

There are two methods in software design. One is to make the program so simple, there are obviously no errors. The other is to make it so complicated, there are no obvious errors.

Every building is a prototype. No two are alike.

Most architects think in drawings, or did think in drawings; today, they think on the computer monitor. I always tried to think three dimensionally. The interior eye of the brain should be not flat but three dimensional so that everything is an object in space. We are not living in a two-dimensional world.

Graphic Design, which fulfills aesthetic needs, complies with the laws of form and exigencies of two-dimensional space; which speaks in semiotics, sans-serifs, and geometrics; which abstracts, transforms, translates, rotates, dilates, repeats, mirrors, groups, and regroups, is not good design if it is irrelevant.

I'm not a mother of children, but I'm a different type of mother where my approach to design is more in line with nature. It's less about dictating and more about editing and listening and allowing something to grow. So I nourish and let the material express what it wants to be.

I was the lead designer on 'Portal,' and I really enjoyed making that type of game.

Most architects say: I want to use this type of glass, even if it's too reflective or doesn't let enough light in. However, the use of a certain type of glass might change the comfort level.

The type of renovation I do most often is opening a kitchen to the family room.

There are three types of biomimicry - one is copying form and shape, another is copying a process, like photosynthesis in a leaf, and the third is mimicking at an ecosystem's level, like building a nature-inspired city.

I try to absorb all types of style and design. I don't try and restrict my thinking. I enjoy the old and the new. You need that broad perspective to create something different.

As architects we are often involved in the concrete-steel-and-glass aspect of it, but cities are social structures, and to be involved in imagining the future of cities and the type of relationships and the types of places that we're making is something that intrigues me very much.

There are two different types of prototyping. First, the gut sense. You know how far you can take it. Second, you need experts to figure out whether or not it is attainable.

A lot of society tries to put people with disabilities into one cube, and when you think about it, many, many people have different types of disabilities, and you cannot put a code that applies to towards everyone - generally, they can be guidelines, but in the long run, interior designers and architects need more education on the subject.

One of the dilemmas of architecture in general is that there is a Catch-22 - you can't actually get to be commissioned to do certain types of building until you've already built that type of building. So it seems to be incredibly hard to get going.

We design for a whole range of ages and body types, and we always have done. What's great about us is that the common thing that they all like is an accessible eccentricity of an accessible flamboyance, and I think the super thing about that, it isn't age-specific: you're not only dressing 25-year-olds; we're dressing women from 25 to 65+.

I'm not a typical couturier, although I really respect them.