Design Flexibility Quotes

When I make chairs, they have legs; they can go anywhere in the world. Interiors are a different responsibility. A house is a representation of where you are, and it has to be right for the place.

I am opposed to the laying down of rules or conditions to be observed in the construction of bridges lest the progress of improvement tomorrow might be embarrassed or shackled by recording or registering as law the prejudices or errors of today.

Everyone by now presumably knows about the danger of premature optimization. I think we should be just as worried about premature design - designing too early what a program should do.

Architects work in two ways. One is to respond precisely to a client's needs or demands. Another is to look at what the client asks and reinterpret it.

We don't want to be a design line. Ultimately, we want to be a platform that houses many design aesthetics.

Mostly I built golf courses the way I played golf, which was left-to-right. But I learned very rapidly that people wanted to see more than just the way I played golf and that I had to balance up what I was doing, right-to-left, left-to-right, etc.

Styles are so fluid, forever changing, that as a designer, you have to keep learning and keep growing your tastes, along with catering to the needs of your client.

I don't design down to a price.

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.

The more centralized the power, the less compromises need to be made in architecture.

People hire me to create some kind of archetype or some culture type, or something. I guess they accept whatever I come up with.

Color always vexed me because I would fight with the media I was using. I love coloring in Photoshop, and it's freed me to pursue ideas and techniques I wouldn't have otherwise attempted. Since I get to take an assignment from concept to final execution, I have more freedom in my idea-making processes.

To be able to swivel around, I think is really good for a concept car, but in reality, I think for normal vehicles, if you actually look at how a vehicle is designed and packaged it doesn't make a lot of sense.

I always say, 'What if you had to sell the house tomorrow?' And if it's too idiosyncratic, someone won't buy it and then it's a bad house.

We're on the brink of the next industrial revolution. Instead of buying things, you can make them on a printer. When you have a 3D printer, you can iterate more - what used to take months, now takes hours.

Before computers, you'd start designing using shapes of cubes. Now I can start with something like a handkerchief, an object that doesn't have strong inside and outside boundaries or much closed volume.

What got me really excited about Tylko is the fact that it bridges the gap between tradition and technology. It expands the designer's ability to create a language, to create ideas, to create a set of proportions, a set of details, and to apply those across a really wide range of applications.

We try to respond as closely as we can to the nature of each city, to the traditions, to their expectations. I don't believe that architects should be imposing their style or their plans on every city in the world.

Bill Sofield has the ability to understand the architecture of a space and how to utilize it in the most beautiful way. He can create completely different styles for his clients based on who they are and what their taste is. Our efforts have always been collaborative, and I value what he brings to the table architecturally and aesthetically.

The themes in WordPress drive a lot of design trends. It democratizes design... You make a theme, and suddenly it's on hundreds and thousands of sites.

EMACS could not have been reached by a process of careful design, because such processes arrive only at goals which are visible at the outset, and whose desirability is established on the bottom line at the outset. Neither I nor anyone else visualized an extensible editor until I had made one, nor appreciated its value until he had experienced it. EMACS exists because I felt free to make individually useful small improvements on a path whose end was not in sight.

I like the spreads - designing them is a welcome challenge - but for a dyed-in-the-wool page-a-day journeyman like me, it can be tough to leave a drawing unfinished at the end of the workday.

One of the neat things about Gearbox that I love is, we don't look at our designs as a totalitarian regime and we're all really happy to let designers and creators within the studio explore in our space.

The artistic capability of reinforced concrete is so fantastic - that is the way to go.

When you're working with an object, you can put in almost anything you want, you can make it abstract.