Design
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Good buildings come from good people, and all problems are solved by good design.
Design is a way of life, a point of view. It involves the whole complex of visual communications: talent, creative ability, manual skill, and technical knowledge. Aesthetics and economics, technology and psychology are intrinsically related to the process.
Wellness is not a 'medical fix' but a way of living — a lifestyle sensitive and responsive to all the dimensions of body, mind, and spirit, an approach to life we each design to achieve our highest potential for well-being now and forever.
Design is not just what it looks like and feels like. Design is how it works.
Everything we do is designed, whether we're producing a magazine, a website, or a bridge. Design is really the creative invention that designs everything.
A shoe is not only a design, but it's a part of your body language, the way you walk. The way you're going to move is quite dictated by your shoes.
There's design, and there's art. Good design is total harmony. There's no better designer than nature — if you look at a branch or a leaf, it's perfect. It's all function. Art is different. It's about emotion. It's about suffering and beauty — but mostly suffering!
Successful design is not the achievement of perfection but the minimization and accommodation of imperfection.
If I was influenced by anything, it was architecture: structure having to do with logic. If you don't do it right, the whole thing is going to cave in. In a certain sense, you can carry that to graphic design. Fortunately, however, nobody is going to die if you do it wrong.
Design is a funny word. Some people think design means how it looks. But of course, if you dig deeper, it's really how it works.
A lot of people don't get it, but I design from the inside out so that the finished product looks inevitable somehow. I think it's important to create spaces that people like to be in, that are humanistic.
Peter Fleming was a famous English traveler, explorer and adventurer, whose non-fiction books were hugely successful. My father owned signed copies of all of them — he and Peter Fleming had become acquainted over some detail of set design at the Korda film studio in Shepperton — and I had read each of them with breathless adolescent excitement.
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