Designers From The United States

"During the summer of 1966 and in subsequent years, operated as the venue for rock 'n' roll, jazz, , pop, and concerts sponsored by . Overlooking the objections of his recently appointed Central Park curator, , played on the public's justifiable fear that the park had become unsafe at night: "It's my responsibility to make it so exciting that people will come there in droves, and that also is protection." He did not foresee the event to which his "attractions to draw teenagers" would stimulate the consumption of alcohol and the sale of drugs in the park, nor the effect this would have on the park's landscape and future safety."

"It was who spurred the design of , bringing from Chicago to plan his last great triumph in the late 1920s."

"faced the challenge of converting what was still a ragged 843-acre wasteland into a pleasure ground that is a masterpiece of landscape design and paragon of social beneficence, while my task was not to build such an extraordinary civic amenity but to develop a plan and find the means to rescue this underappreciated, wholly original tour de force from further destruction—a less remarkable but nevertheless important feat."

"In this magnum opus, Elizabeth Barlow Rogers, the founding president of the and a longtime administrator of that celebrated oasis, stakes out and cultivates a breathtakingly vast terrain: the history of man-made landscape from to the present. Though Rogers focuses on a number of well-known gardens and parks — from of A.D. 118-38 outside Rome to Antonio Gaudí's of 1900-14 in Barcelona — her subject is less than the social interaction of various cultures with their natural settings. Encompassing as much as , this panoramic study is impressive not only for its encyclopedic scope but also for the author's authoritative command of so much diverse material and for her lucid writing."

"The - manner of looking at nature according to the principles of painterly composition is symbolized by a device known as a . Reputedly invented as an aid by the painter , it was a convex, dark-toned glass that reflected landscapes in miniature, with "" tints and merging detail. It was popular with s and gentlemen travelers in the seventeenth and eighteenth century and was still used in the first half of the nineteenth century."

"The garden has always been subject to two main influences—the outer influence from the and the inner from the house."

"The recent obituaries of gave a measure of tribute to his engineering innovations at . It was undoubtedly he who conceived of tracks, bridges and buildings all in a single structural entity; the double-deck track fan to save space and the loop connection to circulate the trains. It was he who worked out all the details with the first official architects, , but to these winners of the competion for the new station goes the credit for the device for looping on "exterior circumferential elevated driveways" instead of through the centre of the station athwart the concourse as Wilgus had suggested."

"My personal emotional response to , like that of so many others, is sensory—stretching out on a large sun-warmed rock outcrop, watching players and picnickers on the , seeing a great production of The Tempest in the in the gloaming of a summer evening, a flash of red from the plumage of a on a spring day in , walking barefoot on the grass of the , the memory of on the frozen on New Year's Day 1981, listening to the moody sound from a saxophone being played beneath the one of the park's reverberating stone arches ... I could go on."

"Named to the Yale faculty in 1945 as assistant professor of , he eventually became director of Yale's graduate course in |city planning when it was initiated in 1950 and which he directed for the next decade. In 1962 he became professor of city planning and in 1965 he was named chairman of the department. In September 1969, as the result of a major reorganization of Yale's School of Art and Architecture, which split the school into two divisions, Professor Tunnard was appointed director of studies in planning, and remained in that post until his retirement in 1975."

"I’m casual in the way I like to entertain at home while I love creating an inviting atmosphere for friends to be in; flowers, candles, music and good food. It’s fun and when imperfections come up, I don’t stress – there’s so much else to focus on and enjoy."

"The Tokyo flower market is spectacular with floral varieties in every imaginable color. It was magic."

"My process begins with the imagination, then to sketches and renderings. After designs are complete, I’ll often test the idea, especially if it’s a new concept I’ve never tried before. The mechanics behind design can make or break an installation, especially given the tight timelines we’re often under. After testing is completed, each component of the project is broken down in order to know what we need to make it happen. And piece by piece, it comes together."

"My beginning question is always, what will complement the environment yet be unexpected? From here, creative ideas come easy. Inspiration is everywhere.”"

"One of my first clients was the late, Jerry Perenchio. He had a special appreciation for flowers and through referrals, I was introduced to circles of other high-profile clients, helping me to become one of the best florists."

"Design themes for workshops are based on inspirations that come from art, architecture, colors, interior design and places that are translate into floral design. For example, the class titled Renaissance in Bloom is inspired by still life and floral paintings during the Renaissance period. The Peony No 5 class is a Chanel perfume-inspired peony arrangement class and The Parker is Mid-Century Modern meets Palm Spring design that parlays into flowers. Whatever the genre, all designs have a fresh, modern take."

"“I knew I had to come up with something different. So I said, ‘Okay, I’m gonna start thinking about females and how they design things and take into account things women would want in a car."

"From the time I was hired on Oct. 24, 1983 until I was let go in 2008, I was largely the only female car designer at the company. I was doing all this work but I was not getting promoted. I was watching Ford hire male designers and seeing them get promoted. They even started hiring female designers that were getting promoted before me,”"

"I was attending Keidan Elementary School and we would have ‘show and tell.’ I bought my car made out of clay and I would draw pictures of cars and such but it was my male teacher who told me that because I was a girl, I couldn’t design cars."

"It all started at the age of 11, introduced me to his coworkers and I noticed a set of blue doors. When I tried to open the door my dad told me I couldn’t go behind them because I wasn’t an employee and behind those doors were men and they were called ‘transportation designers. They designed every car that you saw going up the road."

"“I was so intrigued in hearing that, I decided that I wanted to become a car designer and I wanted to work at Ford designing cars"

"He didn’t know my father was my big mentor. He introduced me to this world and I was being mentored from all angles.”"

"“If I’m on this project, I will make sure it is designed with women in mind. So all the features were catered to a more broad audience. It was still going to stay a muscle car but it’s just going to have more of a soft touch"

"Our whole economy is based on planned obsolescence, and everybody who can read without moving his lips should know it by now. We make good products, we induce people to buy them, and then next year we deliberately introduce something that will make those products old-fashioned, out of date, obsolete. ... It isn’t organized waste. It’s a sound contribution to the American economy."

"Data abstractions provide the same benefits as procedures, but for data. Recall that the main idea is to separate what an abstraction is from how it is implemented so that implementations of the same abstraction can be substituted freely."

"One of the 50 most important women in science"

"a key figure in the development of applications that run on distributed collections of computers"

"That makes abortion a felony."

"We need to change environmental policy. We need to have scientists who are working on massive data and research projects. All of those need to happen in parallel with your everyday citizen doing their part. That’s what I mean, is that for those people who find it overwhelming to look at environmental issues on a global scale, we need to scale it down and make it tangible. There needs to continue to be these other processes happening; people working on climate change, people working on environmental law, people working on ecosystem protection, the creation of marine parks. Whatever it is that has a greater impact. For the everyday person, just start, please. Start something."

"I can understand that people get overwhelmed very quickly when you start to talk about an enormous issue like climate change. But I suggest they just choose one change and implement that in their lives, such as deciding not to eat bluefin tuna or shrimp anymore because it’s unsustainable. Then when that becomes simply part of your life, chose something else to implement. Make informed choices and make them part of your everyday life and don’t assume others are doing it for you."

"Whenever I look at any environmental story, whether it’s oceans, jungles, Antarctica, or the Amazon, I look at the human side to translate it in a relevant way for human beings. It makes it more relevant and compelling to people who are watching, listening, reading."

"“I don't suffer the same things that they do, but I stand with them to defend and protect [their lives and homeland]"

"When I say things like "I want to build a machine that can be proud of me," that's not just a joke."

"I feel like the script to Nightmare 4 is so tender hearted and thought out. I completely related to that character. That’s me in grade school, junior high, etc. Daydreamer, all I did was read books all summer long, looking out the window at the cute guy playing soccer in the backyard. Literally I was Alice. That was my life, so I completely related to the character and I think a lot of us can relate to the character at times in our life when we just want to be part of the wall. We just want to be wallpaper and not bring attention to ourselves and disappear into fantasy worlds. I believe a lot of people, at least a lot of people have told me that they really related to that character. But at one point in life, you have to make a decision to stand up for yourself and stand up for those that you love."

"I’ve also always loved to read books, I loved story-telling. I’ve always loved reading out loud in class, which sounds really silly, but I always had my hand up to read in English class from a book or whatever. I was born in Missouri, we had a basement, which all Missourians do. I was always making up plays, shows, and mom would always give us a big box of clothes she was getting rid of. I was always dressing up my sister into some type of character. So, it was probably innately always a part of me to be an actress."

"I love it when people say "What a horrible, lousy idea." I think that's great … I hate the comfort zone … I don't think that anything that's really creative can be done without danger and risk."

"I'm trying to make the theatrical experience an environmental experience. We want to have the theatre of it right in the laps of the audience … You don't know until the last half second that he's going to be that close."

"In our culture, we think that happy and color is trivial, that black and darkness is deeper. But Nietzsche said — which is a line that I firmly believe — "Joy is deeper than sorrow, for all joy seeks eternity." And if you see Grendel, you'll see, as he's on the edge of the abyss, ready to leap to his death, he sings, "Is it joy I feel? Is it joy I feel?" And it's so, so moving. You can have a lot of different explanations for the ending of that opera, but there is something so palpable that you will feel when he sings those lines."

"Oh, yeah, I'm scared. If you don't have fear then you are not taking a chance. But what I do have is a team. If your collaborators are there, which is what answers the fear question, and they all are as impassioned as you are, and believe in it, then your fear is mitigated."

"There is something human beings can do. "The adrenaline rush," we call it. Fear, tremendous love. When people kill themselves, commit suicide over love, that kind of passion will move mountains."

"Even though she is enduringly fond of her creations, Ms. Taymor never operates any of the puppets herself. "I can't do everything," she said. … Becoming renowned for puppets is not easy — finding a new galaxy or making the draw at Wimbledon is easier. … People sometimes sum her up simply as a puppeteer, which aggravates her to no end. She prefers to be thought of as a writer and director who happens to use puppets. American culture, she believes, does not pay due homage to the idea of the puppet. … She believes it might be better to allude to her puppets as "kinetic sculpture.""

"The concrete world isn't necessarily the most powerful world. The world of the mind — whether you're watching Matrix or whatever — the world that's inside here has the power to do a lot of good and a lot of damage."

"I've never been a puppeteer, I conceive and I write and I design and I direct. And not just puppets. I direct actors, I direct dancers, I direct singers, I direct films. I also direct puppeteers. I'm really a theatre maker, but there's not a word for that."

"I would never do something with just puppets. . . But I like the things puppets allow you to do. I had this puppet Dinah Donewell, and she had this hand puppet named Mr. Pleaser. He was her lap dog who was constantly under her skirt. Now if you did that with actors, people would be offended. But in this case, so what? It was a puppet with a puppet."

"I'm not religious, but I believe in the ecstasy that art and religion can create in human beings, the ecstatic or the awe — as I like to call it, you know, "a-w-e" — that it makes people feel in a way that isn't their banal, everyday feel. That they go, "My God, it transformed me. My life changed.""

"I'm not one of these people that go, "Oh well, I'm just going to do my art and I don't give a shit what anybody thinks." I don't feel that way. I really, really love to have people honestly be moved and inspired. And whether it's just here or just here — it's always better if it's the both. That's why Shakespeare is so great, because he gets you from the gut to the heart to the head, and that's what I aspire to do, more than anything."

"We have a ways to go in understanding the power of puppetry … Our problem is for too long we have thought of puppets being for children. … The appeal of puppetry to me is it's much more freeing for an artist … Puppetry is a completely controllable means to attack your characters in every possible way. The artist has the possibility to create a much larger landscape with puppetry. The human becomes more human in that sense. Another of the great things about puppetry is the ability to transform."

"I can't design a mask and say to someone else, "Just do it." It's partly because I'm a better sculptor than I am a drawer. Considering the amount of time it would take me to draw exactly what I want, I might as well sculpt it. I paint most of it too. It's incredibly time consuming so I end up turning down a lot of jobs I want to do."

"We can either be monsters or angels. We are able to be demons and angels, as that book says. We are able to be incredibly creative or to be incredibly destructive. We have that decision to make, to create something. It could be grotesque and ugly, but it is monstrously beautiful, so it inspires people."

"The first thing I do when I’m creating, either for stage or for cinema, is to find the ideograph of the story. Which is; the one, simple expression that can tell everything. And at the same time be recognizable for the audience. It’s like in old Japanese paintings — if you were to paint a bamboo forest, you should be able to find its essence with only three strokes."

"I received from my experience in Japan an incredible sense of respect for the art of creating, not just the creative product. We're all about the product. To me, the process was also an incredibly important aspect of the total form."