Apple's goal isn't to make money. Our goal is to design and develop and bring to market good products.

One thing most people don't know is that Steve Jobs is an exceptional designer.

Make each product the best it can be. Focus on form and materials. What we don't include is as important as what we do include.

There is a clear goal and it isn't to make money. The goal is to desperately try to make the best products we can. We are not naive - if you trust it, people like it, they buy it and we make money. This is a consequence.

If something is not good enough, stop doing it.

Apple's Industrial Design team is harder to get into than the Illuminati, and part of the reason is because no one leaves. In the last 15 years, not one of the 18 designers has ditched Apple for greener pastures.

There are 9 rejected ideas for every idea that works.

Our goal is to desperately make the best products we can. We're not naive. We trust that if we're successful and we make good products, that people will like them. And we trust that if people like them, they'll buy them. And we figured out the operation and we're effective. We know what we're doing, so we'll make money, but it's a consequence.

It's great if you can find what you love to do. Finding it is one thing, but then to be able to practise that and be preoccupied with that is another.

Manufactured objects testify to who made them; they describe values.

It's easy to think that craft can't change but important to remember that all craft process was at some point new, at some point challenged convention - not to be contrary, but enabled by some breakthrough, some newly discovered principle, or sometimes some wonderful accident.

When something's made in the smallest volume - as a one-off couture piece - or in large quantities, deep care is critical to determine authentic, successful design and, ultimately, manufacture.

Even in high school, I was keenly aware of this remarkable tradition that the U.K. had of designing and making.

It's important to remember that Britain was the first country to industrialize, so I think there's a strong argument to say this is where my profession was founded.

When we started work on the iPhone, the motivation there was we all pretty much couldn't stand our phones, and we wanted a better phone.

The form of computers has never been important, with speed and performance being the only things that mattered.

Our goal is simple objects, objects that you can't imagine any other way.

Deep in the culture of Apple is this sense and understanding of design, developing, and making. Form and the material and process - they are beautifully intertwined - completely connected.

The iPhone was broadly dismissed. The iPod was broadly dismissed. The iPad was probably more copiously written off as a large iPod.

If doing anything new, you're very used to having insurmountable obstacles.

The benefit of hindsight is we only really talk about those things that did work out.

I am very aware that I'm the product of growing up in England and the tradition of designing and making, of England industrialising first.

Successful collaboration, in your mind, could be that your opinion is the most valuable and becomes the prevailing sort of direction. That's not collaborating.

I feel that it's lovely when, as a user, you're not aware of the complexity.

Innovation at Apple has always been a team game. It has always been a case where you have a number of small groups working together.

Often when I talk about what I do, making isn't just this inevitable function tacked on at the end.

One of the things that is particularly precious about working at Apple is that many of us on the design team have worked together for 15-plus years, and there's a wonderful thing about learning as a group. A fundamental part of that is making mistakes together.

So much of my background is about making: physically doing it myself.

When you feel that the way you interpret the world is fairly idiosyncratic, you can feel somewhat ostracized and lonely.

I think it's important that we learn how to draw and to make something and to do it directly. To understand the properties you're working with by manipulating them and transforming them yourself.

What I think is remarkable is the force of habit and the fact that while we can have a practice for doing something that has been repetitive and established over many, many years, it doesn't actually mean there's any virtue to doing it that way at all.

I always like when you start to use something with a little less reverence. You start to use it a little carelessly, and with a little less thought, because then, I think, you're using it very naturally.

That's just tragic, that you can spend four years of your life studying the design of three dimensional objects and not make one.

We won't do something different for different's sake. Designers cave in to marketing, to the corporate agenda, which is sort of, 'Oh, it looks like the last one; can't we make it look different?' Well no, there's no reason to.

Pick battles big enough to matter, small enough to win.

'Savage Inequalities' was about school finance, and 'Amazing Grace' primarily dealt with medical and social injustices in New York. But with 'Ordinary Resurrections,' I had no predetermined agenda. When I met with the children, I was not in pursuit of any line of thinking. In our conversations, I let them lead me where they wanted to go.

When I was teaching in the 1960s in Boston, there was a great deal of hope in the air. Martin Luther King Jr. was alive, Malcolm X was alive; great, great leaders were emerging from the southern freedom movement.

Racial segregation has come back to public education with a vengeance.

President Obama's first term in office has been better for intentions than for actual changes in planning and policy. I do believe, and he has several things to this effect, that he would like to provide universal preschool or at least far more preschool for our children.

A great deal has been written in recent years about the purported lack of motivation in the children of the Negro ghettos. Little in my experience supports this, yet the phrase has been repeated endlessly, and the blame in almost all cases is placed somewhere outside the classroom.

We are now operating a school system in America that's more segregated than at any time since the death of Martin Luther King.

'Death at an Early Age' was about racial segregation in Boston. 'Illiterate America' was about grownups who can't read. 'Rachel and Her Children' was about people who were homeless in the middle of Manhattan.

I wrote the first book, and I thought people would say: 'Separate and unequal schools in the City of Boston? I didn't know that. Let's go out and fix it.'

I think a lot of people don't have any idea of how deeply segregated our schools have become all over again. Most textbooks are not honest in what they teach our high school students.

As a matter of record, New York City spends a higher portion of its budget on instruction and associated costs within the schools themselves than any of the other 100 largest districts in the nation.

'Amazing Grace' is not a book of interviews or onetime snapshots. It's a memoir of a journey that took me into a place I had never been and took over two years of my life. I don't think the people in this book would have said the things to me that they did if they perceived me as a reporter.

Apartheid does not happen spontaneously, like bad weather conditions.

Public school was never in business to produce Thoreau. It is in business to produce a man like Richard Nixon and, even more, a population like the one which could elect him.

The 'niche' effect of charter schools guarantees a swift and vicious deepening of class and racial separation.

The trouble is not that schools don't work; they do. They're excellent machines for achieving historically accepted purposes. In suburban schools are children of the rich, who grow up to privilege and anesthetic oblivion to pain - and who then use the servants produced by ghetto schools.