Yves Behar Quotes
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Every tech product on the body like Jawbone or in the home like August is different. But there are definitely principles that apply across the board for me, such as integration in everyday life and discretion.
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What got me really excited about Tylko is the fact that it bridges the gap between tradition and technology. It expands the designer's ability to create a language, to create ideas, to create a set of proportions, a set of details, and to apply those across a really wide range of applications.
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When I first came to the Bay area, I worked in Silicon Valley in the early to mid-'90s, and I think what mattered then was our ability as designers to create a vision around people's ideas.
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When clients come to my design agency and say 'I want to be the Apple of this or that,' we say 'Okay, are you ready to be the Steve Jobs?' Few are up to the task.
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Juicero is the first company to make cold-pressed juice something that people can make themselves at home. The challenges to design and engineer a press that can deliver 8,000 pounds of force are tremendous.
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Design needs a new relationship with the world, one that is more focused on our planet's needs.
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For each project I do, I try to surprise myself, do the unexpected, and change my own status quo. From the One Laptop Per Child, the Herman Miller Sayl, or the latest Movado watch collection, there is always an insecurity about being able to do something important. I think each of those projects makes me feel like we have progressed.
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Sometimes you can find peace of mind by transferring yourself to different situations. They're just reminders to stay... calm.
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Part of my life is spent designing in urban centers, and part of my life has been spent in factories. But the other part of my life is spent in nature.
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I truly believe that we're about to enter a second golden age of design. The first one was in the '50s and '60s, when designers like Raymond Loewy, Charles Eames, George Nelson and Dieter Rams were shepherds of the brands they were working with. They had influence over the products and how companies communicated and promoted themselves.
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What I learned from my years in Silicon Valley is that design can have a primary role in how a business is shaped, how a company can be design-driven. In my experience of large industry in Europe, that knowledge has been lost.
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Design accelerates the adoption of new ideas. And many of these ideas are important for designers to show that there is a way. When you see things through that lens, you realize it applies to any industry and any form of design.
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Everything has yet to be invented. I never say 'green' - I say 'greener.' It's greener simply because this is a continuum of change, improvement and discovery.
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Kodak has always represented innovation that is approachable while delivering the craft of filmmaking.
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Design is a tool that either allows us to create new markets or disrupt existing ones.
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It's not about putting a speaker in a chair or putting a TV in a bed. That's not how technology and the home intersect. For me, it's about sensors, about the home knowing where you are.
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Keyless entry in a car is something that we're used to. Somehow, the home has been very resistant to this. Some of it has to do with security, but today we know that technology, when things are invisible, is actually safer than physical artifacts.
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I know it's a cliche, but I see myself as a citizen of the world. I was brought up in Switzerland by German and Turkish parents but I've very much grown up in San Francisco. I have a European sense of aesthetic, but I'm also deeply steeped in the notion of change and entrepreneurship that is associated with Silicon Valley.
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The best design work is really done when you spend more time with people, when you have the opportunity to be of the same mindset and the same incentives as the founder of the business.
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I wanted to be a writer as a teen... so storytelling was my first love. In my late teens, design became an obsession as I realized that I could express myself through the medium. Much later, when I founded Fuseproject in 1999, our slogan became 'design brings stories to life.'
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For me, it's not about being the best designer. I'm interested in being the best partner. The best collaborator.
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Design certainly has a cosmetic, aesthetic aim. It always aims at making things beautiful. But relevance is just as important. I often say, 'If it isn't ethical, it can't be beautiful. But if it isn't beautiful, it probably shouldn't be at all.'
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I never felt truly at home in Switzerland.
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Having one foot in design and the other in sustainable and social projects, I hear this question quite often: 'Why does the world need another chair?' My answer is that the world needs another chair/bicycle/car or any new product for that matter, like the world needs another book.