design

I was always really geeky about design and buildings. Always into architecture as a kid.

I'd like to do a lot of things - whether in design or architecture or business.

To me, form doesn't always follow function. Form has a life of its own, and at times, it may be the motivating force in design. When you're dealing with form as a sculptor, you feel that you are quite free in attempting to mould and shape things you want to do, but in architecture, it's much more difficult because it has to have a function.

The details are the very source of expression in architecture. But we are caught in a vice between art and the bottom line.

Design, refine and repeat, and keep learning all the way along. It sounds bland and pedestrian, but in fact, it's the reverse.

London is one of the most civilised places in the world for the procedure of making architecture and urban design.

In architecture the idea degenerated. Design allows a more direct and pleasurable route.

I have played a few times in Barcelona, including the fantastic Olympic Stadium. It's undoubtedly one of my favourite cities in terms of the people, arts, food, architecture and design.

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.

I wanted a real profession. And I'd always been interested in architecture and in design and in, really, what makes things work. And understanding what's kind of behind the walls and why things stand up and some things don't.

Fashion is architecture: it is a matter of proportions.

Good buildings come from good people, and all problems are solved by good design.

I paint mostly from real life. It has to start with that. Real people, real street scenes, behind the curtain scenes, live models, paintings, photographs, staged setups, architecture, grids, graphic design. Whatever it takes to make it work.

As Irving Good realised in 1965, machines with superhuman intelligence could repeatedly improve their design even further, triggering what Vernor Vinge called a 'singularity.'

I had given a presentation on design and happiness for quite a long while at design conferences. I had found thinking about the topic helpful for my own practice, as it forced me to consider the fundamentals, and the feedback from the audience was always enthusiastic.

When I design, I always pull from things that are significant to me. In my work, I search for happiness and then try to convey that joy in the clothes.

Food is one part of the experience. And it has to be somewhere between 50 to 60 percent of the dining experience. But the rest counts as well: The mood, the atmosphere, the music, the feeling, the design, the harmony between what you have on the plate and what surrounds the plate.

After months of preparation working with a stylist who explained to me how a fashion house runs and the process of making a dress, I developed a respect for the patience and skill it takes to design these dresses.