Quotes About Design

Architecture struck me between the eye and the eyeball.

First, there is the bare beauty of the logs themselves with their long lines and firm curves. Then there is the open charm felt of the structural features which are not hidden under plaster and ornament, but are clearly revealed, a charm felt in Japanese architecture.

What I wanted to create with 'The Luminaries' is a book that had structural patterns built in that didn't matter, but if you cared about them, you could look into the book and see them.

I champion the idea of being more conscious. I call it being an active architect of your own life. Building your life like an architect builds a structure.

A structure becomes architectural, and not sculptural, when its elements no longer have their justification in nature.

I'm not interested in possible complexities. I regard song structure as a graph paper.

A good pump is a silhouette, like the bone structure of the face. It's like a beautiful face with no make-up. You can cover a not-so-beautiful face with make-up, but it is just a mask - it is the same with shoes.

I am always fascinated by the structure of things; why do things work this way and not that way.

When you're learning, especially to write, unless you're some incredibly gifted writer, a young Malcom Gladwell, say, you need to be imitating people. You need to be imitating how they make their work, how they structure it, how they design the pieces. It gives you chops; it gives you moves.

I think a construction project for me is like writing a novel. I can't do the project unless I can envision sort of the whole structure and see what the end result might be.

I don't like dining rooms. I think they have too much structure and are too formal.

I think, in our modern cities, there are a lot of boxes; there are a lot of straight lines. They often deal with efficiency, the function, the structure.

Vivienne Westwood makes such beautifully structured clothes that are especially flattering if you are curvy.

A structured design approach can heighten the hit rate in the fuzzy front end of innovation processes in public and private sectors.

I am finally getting the chance to build large structures and break preconceptions that my designs are just sculptures for people to be in. But my work always comes down to the human scale.

The form language used by the ancient Egyptians in their structures is minimal.

I love creating models and coming up with explicit structures I can play with.

I graduated from Wesleyan University with a B.A. in art. I was really headed toward an architecture degree, but when I did the requirements for the major, I realized I was more interested in how people live in buildings than in making buildings. I was more interested in the interactions that happened inside the structures.

Personally, one of the greatest sources of inspiration for my work has been architecture. I've had the chance to see so many exquisite structures, whether they are historical monuments or modern commercial premises.

Design is not so much a design issue as a power struggle.

Modern fake fur looks so much like real fur that the moment it leaves the atelier, no one can tell it's not the real thing. And I've struggled with that.

I do not oppose form, but only form as a goal.

I've never set up any golf course that would favor anybody. I try to make it exactly the opposite, which is what we did at Valhalla when we modernized it to accommodate the lengths players are hitting it today.

Like Christians, Soccerians argue that you should not judge the essence of their faith by the loopy activities of its followers. But the Beautiful Game is in fact quite the opposite. It is badly designed and riddled with flaws.