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“Nineteenth- and early-twentieth-century exponents of prefabrication were certain it would supplant age-old traditions of individualized design and handcrafted construction. The building art would be revolutionized by freeing designers and construction workers from repetitive tasks, and democratized by making high-style architecture more affordable.”

“I am only a footnote, but proud of the footnote I have become. My subsequent work on eliciting principles and developing the theory of interface design, so that many people will be able to do what I did is probably also footnote-worthy. In looking back at this turn-of-the-century period, the rise of a worldwide network will be seen as the most significant part of the computer revolution.”

“Consider this: all the ants on the planet, taken together, have a biomass greater than that of humans. Ants have been incredibly industrious for millions of years. Yet their productiveness nourishes plants, animals, and soil. Human industry has been in full swing for little over a century, yet it has brought about a decline in almost every ecosystem on the planet. Nature doesn't have a design problem. People do.”

“Something I always wanted to do, to capture that later half of the '70s. It's like the early half of the '70s is still the '60s, in that there's still kind of a playfulness and inventiveness in terms of design and the things that were going on in the culture. The second half, it got much more commodified. It's possibly the ugliest era of architecture and clothes and design in the entire 20th century, from 1975 to '81 or '82.”

“Stewart Davenport conscientiously and insightfully re-creates the world of the nineteenth-century political economists, who taught that the principles of international trade manifested, like the laws of biology and physics, the intelligent design of a Divine Creator.”

“Only the bad artists of the nineteenth century were frightened by the invention of photography; the good ones all welcomed it and used it. Degas liked it not only because it provided an accurate record, but because the snapshot showed him a means of escape from the classical rules of design. Through it he learnt to make a composition without the use of formal symmetry.”

“I sell architecture better and more directly and more vividly than the architect does... The average architect is stupid. He doesn't know how to sell. He's not a merchandiser. He doesn't know how to express his own image. He doesn't know how to create a design of his image... And I do it. I've done it all my career over half a century, and it gets better.”

“I really liked the design aesthetic of the mid-century modern for furniture and the early '60s stuff for the clothes. But then, personally, I'm a huge fan of 1970s muscle cars. Cell phones is just a laziness thing because it's so much easier to have somebody have a cell phone than have to go to a phone booth. So we're sort of, I guess, cherry-picking the best and easiest from several decades.”

“I think the way design was practiced for most of the 20th century was very declarative. A designer came up with a solution for a project and put it in place and shipped the solution and it landed in a reader or a customer's hands as a brochure. They would see it as a poster, or as a piece of signage. And that was sort of it. That was the end of it. I think Internet technology has really upended that whole equation because in some ways a designer's work is never really done online.”