Design Quotes

I've always thought that design can have equal importance to the idea of internal architecture. Professionally, things can be very dogmatic - you do the architecture, someone else does the interiors, someone else does the furniture, the fabric, etc. But I think design is all-encompassing.

People say I design architectural icons. If I design a building and it becomes an icon, that's ok.

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.

After I left school, where I studied art, photography and textiles at A-level, I started doing an apprenticeship in interior design, but I wasn't really enjoying it very much, so I decided to do something creative, and in 2009, I began blogging.

I learned that the first technology appeared in the form of stone tools, 2.6 million years ago. First entertainment comes evidence from flutes that are 35,000 years old. And evidence for first design comes 75,000 years old - beads. And you can do the same with your genes and track them back in time.

As a woman, I'm expected to want everything to be nice and to be nice myself. A very English thing. I don't design nice buildings - I don't like them. I like architecture to have some raw, vital, earthy quality.

Borderline embarrassing fact: I used to have a pseudo line when I was seven called Zizzy Fashion. I love clothing, and I would eventually like to design as well as act.

If I wanted to do clothes or if I wanted to make a building or design a choreography, you are able to do that - they are all under a similar kind of design umbrella.

I try to push design boundaries using new draping and fabric manipulation techniques every time I approach a new design.

Actually, I didn't make the claim that Ruby follows the principle of least surprise. Someone felt the design of Ruby follows that philosophy, so they started saying that. I didn't bring that up, actually.

Design accelerates the adoption of new ideas. And many of these ideas are important for designers to show that there is a way. When you see things through that lens, you realize it applies to any industry and any form of design.

Design can successfully bind the ancient nomadic cultures with today's global marketplace, ensuring the preservation of traditions and knowledge for further generations. This aspect of research is obviously rich in its business potential as well.

I am passionate about what design can do - how far it can support the new ideas and the new ways of living of this 21st Century. Good design accelerates this exciting future where manufacturing is local, materials and processes are cradle to cradle, business models are both socially and financially driven.

Integrating breakthrough technology into everyday products is always a challenge; at the same time, this is exactly how design makes tech products easily adoptable in life.

I believe consistency and orthogonality are tools of design, not the primary goal in design.

Design certainly has a cosmetic, aesthetic aim. It always aims at making things beautiful. But relevance is just as important. I often say, 'If it isn't ethical, it can't be beautiful. But if it isn't beautiful, it probably shouldn't be at all.'

The big difference between couture and ready-to-wear is not design. It is the fabrics, the handwork, and the fittings. The act of creation is the same.

Design is a tool that either allows us to create new markets or disrupt existing ones.

Juicero is the first company to make cold-pressed juice something that people can make themselves at home. The challenges to design and engineer a press that can deliver 8,000 pounds of force are tremendous.

Having one foot in design and the other in sustainable and social projects, I hear this question quite often: 'Why does the world need another chair?' My answer is that the world needs another chair/bicycle/car or any new product for that matter, like the world needs another book.

I'm interested in technology for the masses. Good tech design should not just be for enthusiasts but for the general public. It should be something that touches everyone.

I have been working with Hive, part of British Gas, on reinventing the thermostat. Now you can control your heating at the press of a button on your phone. As I say, design should permeate every part of society.

Bankruptocracy is as much a European predicament as it is an American 'invention.' The difference between the experience of the two continents is that at least Americans did not have to labour under the enormous design faults of the eurozone.

What I learned from my years in Silicon Valley is that design can have a primary role in how a business is shaped, how a company can be design-driven. In my experience of large industry in Europe, that knowledge has been lost.

My mantra is: 'Good design accelerates the adoption of new ideas.'

I truly believe that we're about to enter a second golden age of design. The first one was in the '50s and '60s, when designers like Raymond Loewy, Charles Eames, George Nelson and Dieter Rams were shepherds of the brands they were working with. They had influence over the products and how companies communicated and promoted themselves.

The best design work is really done when you spend more time with people, when you have the opportunity to be of the same mindset and the same incentives as the founder of the business.

I think every business, really, has a unique reason for being, unique assets, unique attributes, a unique history. And that can be turned into a very attractive design story, essentially, that consumers can relate to.

When you are in an unpleasant environment that makes you feel uncomfortable, one of the key ways to improve that situation is through design. That's why I think it is so important to help develop and showcase young designers, as they are our future.

I wanted to be a writer as a teen... so storytelling was my first love. In my late teens, design became an obsession as I realized that I could express myself through the medium. Much later, when I founded Fuseproject in 1999, our slogan became 'design brings stories to life.'