I do believe that there are some universal cognitive tasks that are deep and profound - indeed, so deep and profound that it is worthwhile to understand them in order to design our displays in accord with those tasks.

I would like to mention that I have flown the 262 first in May '43. At this time, the aircraft was completely secret. I first knew of the existence of this aircraft only early in '42 - even in my position. This aircraft didn't have any priority in design or production.

Longhorns are unique - each and every one of them is a different color with a different design.

I design my shots. I walk the rehearsal as the camera and say 'this is where I want to be... I want this look.

There is no reason to design buildings that are more basic and rectilinear, because with concrete you can cover almost any space.

I discovered at an early age that all I've ever wanted to do is design.

Perhaps I'd like to design cars, but I don't think I'd be much good at it.

If you're talking to an architect, he can look at a blank piece of paper, and once the initial design is there, the formula kicks in. Each room should have something unique and different about it - much the same way that in a song, every eight bars or so, a new piece of information should be introduced.

Computers are scary. They're nightmares to fix, lose our stuff, and, on occasion, they crash, producing the blue screen of death. Steve Jobs knew this. He knew that computers were bulky and hernia-inducing and Darth Vader black. He understood the value of declarative design.

It was something I was more interested in myself. When I went to see my sister dance at ballet, I was really into costumes and the arts, and my family was also supportive of whatever me and my sister wanted to do. I would say I pushed myself the most to be into design.