Paola Antonelli: Treating design as art

Translator: Mailis Laos Reviewer: TED Translators admin

Those of us who believe in heaven have some sort of idea of what heaven would be.

Meil, kes usume taeva olemasolu, on enamasti mingi ettekujutus,

milline taevas olla võiks.

And in my idea, heaven is satisfied curiosity.

Minu jaoks on taevas rahuldatud uudishimu.

I think of heaven as a really comfortable cloud

Ma kujutlen taevast mugava pilvena,

where I can just lie down with my belly down,

kus ma võin lihtsalt lebada - kõhuli,

like I was watching TV when I was a child, and my elbows up.

pea toetumas kätele - just nagu lapsena televiisorit vaadates.

And I can basically look everywhere I want,

Võin põhimõtteliselt vaadata igale poole, kuhu tahan -

vaadata kõik filmid, mida olen tahtnud näha.

see every movie I've always wanted to see.

And in the same kind of trance that you can feel sometimes

Selles samas transilaadses seisundis,

mida vahel New Yorgi metroos lugedes tunda võib,

in the subway in New York when you're reading,

there's something really soothing and easy.

on midagi erakordselt rahustavat ja kerget.

Well, the funny thing is that I already have that kind of life, in a way,

Jah, kummalisel kombel on mul juba teatud mõttes selline elu.

because I discovered ...

Sest ma avastasin - kuigi võttis aega, et selleni jõuda -

it took me a while to understand it,

but when I discovered around 24 years of age that I was much more comfortable

aga kui ma umbes 24-aastasena avastasin, et tunnen end oluliselt mugavamalt

with objects than with people, I finally decided to really embrace this passion.

esemete kui inimestega, võtsin selle tundmuse omaks.

Ja nii elangi ma enamasti justkui transis.

And I basically live my life in sort of a trance,

and I look around and everything I see is just the beginning of a long story.

Kui ma enese ümber ringi vaatan, tundub kõik alles ees olevat.

Just to give you an example:

Toon teile näite:

this is the exhibition, Humble Masterpieces, as it was at MoMA in 2004.

siin on näha 2004. aastal MoMA-s toimunud näitus "Tagasihoidlikud meistriteosed".

We were in Queens,

Asusime siis Queensis.

we were building the big, big, big, big building in Midtown,

Ehitasime kesklinna parajasti tohutu suurt hoonet,

so we were in the small, small, small boondocks.

mistõttu olime ajutiselt pisikeses lobudikus.

That was one of the funnest moments of my career.

See oli üks lõbusamaid hetki mu karjääri jooksul.

Kuid asi pole ainult selles.

But it's not only that.

The typeface -- the typeface is Helvetica;

See kirjatüüp - see on Helvetica.

it's its 50th anniversary this year.

Tänavu möödub selle loomisest 50 aastat.

And so I start thinking -- Max Miedinger and all those Swiss designers together,

Kujutlen Max Miedingeri ja teisi Šveitsi disainereid,

trying to outdo Akzidenz-Grotesk, and come up with a new sans-serif typeface --

kes püüavad Akzidenz Groteski üle trumbata ja välja mõelda uut seriifideta kirja.

and the movie starts playing in my head already.

Kujutan seda juba vaimusilmas.

Loomulikult, nagu võite ette kujutada, "Tagasihoidlike meistriteoste" puhul

And of course, you can imagine, with Humble Masterpieces

it was the same thing multiplied by a hundred.

tundsin sama, aga sajakordselt.

And I do hope, by the way, that the real goal of the exhibition

Muuseas, ma loodan, et idee, millega see näitus kokku sai pandud,

is going to have the same effect on you.

tekitab teis sama tunde.

The exhibition was meant to be a way to have children think of doing ...

Näituse eesmärk oli panna lapsed oma tegevuse üle mõtlema -

you know when they do homeworks at home?

kui nad näiteks kodutöid teevad.

Instead of having a tray with two peas, I was hoping that they would go

Selle asemel, et piirduda vaid kättejuhtuvaga,

into the kitchen cabinet or the mother's handbag

lootsin, et nad kiikavad köögikappi või ema käekotti ja panevad

and do their museum-quality design collection on a tray.

igapäevastest asjadest kokku arvestatava disainikogu.

So, everybody's always suggesting new humble masterpieces,

Kõik alati soovitavad uusi tagasihoidlike meistriteosteid

and at MoMA we put out some books

ja nii me panime näitusele n-ö soovituste raamatud,

just for people to suggest their own humble masterpieces.

et inimesed võiksid oma ettepanekud neisse kirja panna.

And when you do that, usually you get 80 percent porn and 20 percent real suggestions,

Enamasti on sel juhul tulemuseks 80% pornot ja 20% asjalikke soovitusi.

and instead it was all -- almost -- all good suggestions.

Aga seekord olid peaagu kõik soovitused head.

And a lot of nationalism came in.

Palju oli märgata rahvuslikku uhkust.

For instance, I didn't know that the Spaniards invented the mop,

Näiteks ma ei teadnud, et hispaanlased leiutasid mopi -

aga nad olid selle üle väga uhked.

but they were very proud

so every Spaniard said "la frego." And Italians did the pizza.

Nii hispaanlased märkisid ära "la frego" ja itaallased pitsa.

And I wanted to show you, also, the suggestions from Kentucky are pretty good --

Ma tahtsin teile veel näidata, et ka kentuckylaste soovitused on üsna head:

they had moonshine, laundry detergents and liquid nails.

mainiti samakat, pesupulbrit ja kunstküüsi.

Raamat on endiselt soovitusteks avatud,

And I keep it going, and I just got,

(Laughter)

(Naer)

also, this suggestion from Milan:

sain just sellise soovituse Milanost:

it's our traffic divider, which we call "panettone," and it's painted;

see on tänavatõke, me kutsume seda panettoneks -

it's these beautiful concrete things that you use around Milan

teate küll neid ilusaid betoonist asju,

mida Milanos kasutatakse liikluses radade eraldamiseks.

to define all the lanes of traffic.

So, think of your own,

Nii et mõelge teie ka mõne sellise objekti peale.

send them on if you want to -- they're always welcome.

Võite oma soovitused meile saata - need on alati teretulnud.

But an exhibition like that made me understand even more

Selle näituse käigus jõudsin sügavama arusaamani sellest,

what I've been thinking of for 13 years ever since I got to MoMA.

mille üle olen juba 13 aastat mõtisklenud, sestsaadik kui MoMA-sse tulin.

I'm Italian. In Italy, design is normal.

Ma olen itaallane. Itaalias on disain igapäevane.

Different parts of the world have a knack for different things.

Erinevates maades ollakse erinevatel aladel osavad.

I was just recently in Argentina and in Uruguay,

Ma käisin just hiljuti Argentiinas ja Uruguays

and the default way of building homes in the country is a beautiful modernism

ja seal on iseenesest mõistetav ehitada maakodud eripärases modernistlikus võtmes,

that you don't see elsewhere, but the contemporary art was terrible.

samas kui kaasaegne kunst on kohutav.

In Italy, in Milan especially,

Itaalias, ja eriti Milanos,

contemporary art really doesn't have that much of a place.

ei ole kaasaegne kunst kuigi olulisel kohal.

But design -- oh, my God.

Aga disain - issake!

What you find at the store at the corner, without going to any kind of fancy store,

Minemata mõnda uhkesse kauplusse, on nurgapealsest poekesest võimalik leida

is the kind of refined design that makes everybody think that

elegantseid disainesemeid, mis jätavad kõigile mulje,

we are all so sophisticated.

et meil on kuidagi eriliselt peen maitse.

It's just what you find at the store.

Aga neid on lihtsalt igas poes.

And New York has another kind of knack for contemporary art.

New Yorgile on jällegi omane kaasaegne kunst.

I'm always amazed -- three-year-olds know who Richard Serra is

Mind paneb alati imestama, kuidas 3-aastased teavad, kes on Richard Serra

and take you to the galleries.

ja viivad sind galeriidesse.

But design, for some reason, is still misunderstood for decoration.

Aga mingil põhjusel peetakse disaini endiselt vaid kaunistamiseks.

It's really interesting:

See on tõesti huvitav.

what many people think when I say the word "design" is they think of

Paljudele seostub sõna "disain"

this kind of overdesigned -- in this case, it's overdesigned on purpose, but --

seesuguse üledisainitud - antud juhul on see taotluslik -

decoration, interior decoration.

sisekujundusega.

They think of somebody choosing fabrics.

Nad kujutavad kedagi kangaid valimas.

Design can be that, of course, but it can also be this.

Loomulikult võib disain selline olla, aga see võib olla ka hoopis midagi muud.

It can be a school of design in Jerusalem that tries to find a better way

Näiteks disainikool Jeruusalemmas, kus püütakse gaasimaskide disainile

paremat lahendust leida.

to design gas masks for people,

because, as you know, Israel deploys one gas mask per person including babies.

Sest nagu teate, tagatakse Iisraelis igale inimesele, sh väikelastele, gaasimask.

So, what these designers do is they find a way to lower the neckline,

Niisiis püüavad disainerid kaelust avaramaks muuta -

selle asemel, et gaasimask tihedalt pitsitaks,

so that instead of being completely strangled, a teenager can also sip a Coke.

on teismelistel hoopis võimalus koolat juua.

They tried to make a toddler's gas mask in such a way that the toddler

Väikelastele üritati gaasimaskid valmistada niimoodi,

et vanemad saaksid neid süles hoida - kuna kehaline lähedus on niivõrd oluline -

can be held by the parent because proximity of the body is so important.

ja lisaks valmistati väikestele lastele pisiked telgikesed.

And then they make a little tent for the baby.

However cruel, however ruthless you can think this is it's a great design,

Ükskõik kui julm või halastamatu see teile ka ei tundu, on see suurepärane disain.

and it is miles away from the fancy furniture,

Ja uhkest mööblist on siin asi kaugel.

but still, it's part of my same field of passion.

Samal ajal jääb see ikkagi valdkonda, mida armastan.

What I've been doing at MoMA since the beginning is to try to

Olen üritanud MoMA-s juba algusest peale

MoMA mõjuvõimu kasulikult rakendada.

harness the power of MoMA

because it's great to work there. You really have power

Seal on tõesti tore töötada - sul on piisavalt mõju tagamaks,

in that people usually tend to know about your exhibition or see the exhibitions,

et inimesed teaksid su näitusest ja tuleksid seda vaatama.

and that is power because in a design museum I wouldn't have as many visitors.

Mõnes disainimuuseumis ei oleks mu näitustel pooltki nii palju külalisi.

I'm very well aware that 80 percent of my public is there to see Picasso and Matisse,

Saan hästi aru, et 80% mu publikust tuli tegelikult Picassot ja Matisse'i vaatama.

and then they stumble upon my show and I keep them there.

Aga siis satuvad nad minu näitusele ja sealt ma neid minema ei lase.

But what I've been trying to do is something that the curators at MoMA

Ma üritan MoMA-s jätkata sama, mida minu eelkäijad on alates

in my department have been doing ever since the museum was founded in 1929,

muuseumi loomisest 1929. aastal alati teinud.

which is to try and see what's going on in the world

Nimelt hoida end maailmas toimuvaga kursis

and try to use that authority in order to make things better.

ja kasutada oma võimu, et seda paremaks muuta.

There have been many episodes,

Mitmeid kordi on ...

and actually Eames Demetrius may be here in the audience,

Ja võimalik, et Eames Demetrius on siin publiku hulgas ...

but in two instances, his great-grandfather, grandfather --

Kuid kahel korral on tema vanavanaisa või vanaisa -

I'm always a little perplexed about the relation, exactly --

mulle valmistavad need sugulussidemed natuke probleeme ...

Charles Eames the first time and then Charles and Ray Eames the second time

Niisiis osales Charles Eames kahel konkursil: esimest korda üksi,

were involved in two competitions:

teisel korral koos Ray Eamesiga.

one in 1940, it was about organic furniture, and the second one in 1948

Esimene - orgaanilise mööbli konkurss - toimus 1940. aastal - ja teine,

was low-cost furniture for the GIs coming back from the war

sõjaveteranidele taskukohase mööbli väljatöötamiseks, 1948. aastal.

that then sparked a whole line of furniture.

Viimasest arenes välja terve mööblikollektsioon.

And then there was good design for very low price.

See oli hästi disainitud ja taskukohase hinnaga.

There were a lot of programs in architecture and design that were about

Arhitektuuri ja disainivallas olid aktuaalsed projektid,

pointing people in the direction of a better design for a better life.

mis püüdsid disaini abil elu paremaks muuta.

Nii ma alustasin 1995. aastal näitusega

So, I started out in '95 with this exhibition that was called

"Mutantmaterjalid kaasaegses disainis".

Mutant Materials in Contemporary Design.

It was about a new phase, in my opinion, in the world of design

See oli uuest ajajärgust disainimaailmas -

in that materials could be customized by the designers themselves.

ajajärgust, mil disainerid saavad ise materjale kohandada.

And that put me in touch with such diverse design examples as the aerogels

Puutusin kokku väga erinevate näidetega - nagu aerogeelid

mis olid välja töötatud Californias Lawrence Livermore Lab-is.

from the Lawrence Livermore Lab in California;

at that time, they were beginning to be brought into the civilian market.

Tol hetkel alles hakati neid tsiviilturule tooma.

And at the same time, the gorgeous work of Takeshi Ishiguro, who did these

Samas võib näiteks tuua ka Takeshi Ishiguro oivalised tööd -

beautiful salt-and-pepper containers that are made of rice dough.

ilusad riisijahust taignast soola- ja pipratoosid.

So you see, the range is really quite diverse.

Nagu näete, on see valdkond vägagi eriilmeline.

And then, for instance, this other exhibition

Näiteks veel üks teine näitus,

that was entitled Workspheres in 2001,

"Töösfäärid" 2001. aastal.

where I asked different designers to come up with ideas for

Ma palusin disaineritel mõelda,

the new type of work styles that were happening in the world at that time.

millised on uued töötamise viisid tänapäeval.

And you see IDEO there.

Siin näete Ideo lahendust.

It was beautiful -- it was called Personal Skies.

See oli kaunis - "Isiklikud taevad".

The idea was that if you had a cubicle, you could project a sky on top

Idee oli selles, et boksides istudes oleks võimalik pea kohale

of your head and have your own "Cielo in Una Stanza" -- a sky in a room --

taeva projektsioon tekitada - "Cielo in Una Stanza" - taevas toas.

it's a very famous Italian song.

See on üks tuntud itaalia laul.

And other examples: this was Marti Guixe about working on the go,

Veel näiteid. Siin tegeles Marti Guixe käigu pealt töötamisega.

and Hella Jongerius, my favorite, about how to work at home.

Ja Hella Jongerius, isiklik lemmik - kuidas kodus tööd teha.

And this lets me introduce a very important idea about design:

Siinkohal tutvustaksin üht äärmiselt olulist ideed disainis.

designers are the biggest synthesizers in the world.

Disainerid tegelevad tohutult palju sünteesimisega.

What they do best is make a synthesis of human needs,

Nad teevad oma parima, et arvestada kõikide inimese vajadustega;

current conditions in economy, in materials, in sustainability issues,

majanduse hetkeolukorraga, materjalidega, jätkusuutlikkusega.

and then what they do at the end -- if they are good --

Ja kui nad on tõeliselt osavad, suudavad nad lõpuks

is much more than the sum of its parts.

uue kvaliteedi luua.

Hella Jongerius is a person that is able to make a synthesis

Hella Jongerius suudab seda ühteaegu

that is really quite amazing

edukalt ja vaimukalt teha.

and also quite hilarious.

The idea behind her work was that

Tema töö mõte oli -

at that time, everybody was saying you have to really divide your life.

tol ajal räägiti palju elu erinevate sfääride lahutamisest.

Instead, she said, "No, no. Work and leisure can be together."

Tema seevastu väitis, et töö ja vaba aeg ei pea sugugi lahus olema.

Yeah, that's particularly gorgeous -- it's the TV dinner of 2001.

See on eriti tore - 2001. aasta kiirtoit.

There have been many other exhibitions in the meantime,

Vahepeal on olnud palju teisi näituseid, aga ma ei taha

ainult enda omadele keskenduda.

but I don't want to focus on my shows.

I would like, instead, to talk about how great some designers are.

Selle asemel räägiksin hoopis paarist suurepärasest disainerist.

I've always had a hard time with the word "maverick."

Mulle on alati sõna "isemõtleja" probleeme valmistanud.

I came to the United States 13 years ago, and to this day

Ma tulin Ühendriikidesse 13 aastat tagasi

I have to ask, "What does that mean?"

ja pean ikka veel küsima, mida see tähendab.

So, this morning I went to see on the dictionary and it said that

Täna hommikul vaatasin sõnaraamatust järgi:

there was this gentleman that was not branding its cattle.

see on härrasmees, kes jättis oma karja märgistamata.

Therefore, he was not following everybody's lead,

See tähendab, et ta keeldus teiste eeskuju järgimast -

and therefore, he was a maverick.

seega oli ta isemõtleja.

So, designers do need to be mavericks,

Ka disainerid peavad isemõtlejad olema.

because the best way to design a successful object --

Sest parim viis midagi edukat disainida -

and also an object that we were missing before --

midagi, millest me varem puudust oleme tundnud,

on teeselda, et seda pole kunagi üldse olemas olnudki

is to pretend that either it never existed

or that people will be able to have a new behavior with it.

või et inimesed suudavad selle abil midagi teistmoodi teha.

So, Safe is the last exhibition that I did at MoMA

"Kaitstud" oli minu viimane näitus MoMA-s.

and it ended at the beginning of last year.

See sai eelmise aasta alguses läbi.

It was about design that deals with safety and deals with protection.

Peamiselt näitasime disaini, mis tegeleb turvalisuse ja kaitse teemadega.

It's a long story because it started before 2001 and it was called Emergency.

Tegelikult hakkasime näitust kokku panema juba enne 2001. aastat,

tollane nimi oli "Häireolukord".

And then when 9/11 happened, I had a shock and I canceled the exhibition

Aga pärast 11. septembri vapustust jätsin näituse ära.

until, slowly but surely, it came back --

Siiski, tasapisi kogus mõte näitusest taas jõudu

as a half-full glass instead of half-empty --

ja seekord positiivsemas sõnastuses.

and it was about protection and safety.

Näituse teemaks sai turvalisus ja kaitstus.

But it ranged from such items as a complete de-mining equipment to

Esindatud olid erinevad esemed, alates miinitõrje varustusest

these kind of water-sterilizing straws,

kuni vett puhastavate kõrteni.

so it was really wide-ranging.

Seega tõesti erinevad valdkonnad.

It also had ... you know, Cameron and I worked a little bit together,

Muideks, me tegime Cameroniga pisut koostööd.

and some of the entries that you see in his website were actually in the exhibition.

Mõned tema veebilehel olevatest sissekannetest olid ka näitusel esindatud.

But what is interesting is that we don't need to talk about design and art anymore;

On päris põnev, et enam ei ole tarvidust rääkida disainist ja kunstist.

design uses whatever tools it has at its disposal in order to make a point.

Disainis kasutatakse kõiki kättesaadavaid vahendeid, et end kuuldavaks teha.

It's a sense of economy and a sense, also, of humor.

Siin on arusaam majandusest ühendatud huumorimeelega.

This is a beautiful project by Ralph Borland, who's South African.

See on lõuna-aafriklase Ralph Borlandi tore projekt -

It's a suit for civil disobedience.

ülikond kodanikuallumatuse jaoks.

The idea is that when you have a riot or a protest

Mõte on selles, et kui sa osaled meeleavaldusel

and the police comes towards you, you're wearing this thing --

ja satud politseiga vastamisi, siis on sul see ülikond seljas.

it's like a big heart and it has a loudspeaker over your heart

See sarnaneb suurele südamele - sel on valjuhääldi südame kohal,

mis muudab südamelöögid kuuldavaks.

so your heartbeat is amplified --

and the police is reminded;

Ja politsei kuuleb seda.

it's like having a flower in front of the rifle.

Sel on sama mõju nagu lilledega püsside vastu astumisel.

And also, you can imagine, a whole group of people with the same suit

Kujutage ette tervet hulka inimesi neis ülikondades,

will have this mounting collective heartbeat that will be scary to the police.

süda järjest kiiremini löömas - see võib politseid hirmutada.

So, designers sometimes don't do things that are immediately

Disainerid ei pruugi alati väga funktsionaalseid asju välja mõelda,

functional, but they're functional to our understanding of issues.

aga nad aitavad meil ometi mõningaid teemasid paremini mõista.

Tony Dunne and Fiona Raby

Dunne ja Raby - Tony Dunne ja Fiona Raby -

did this series of objects that are about our anguish and our paranoia,

valmistasid terve seeria asju, mis tegelevad ängi ja paranoiaga.

like this hideaway furniture that's made in the same wood as your floor

Näiteks peidupaigana kasutatav mööbel, mis on põrandaga samast puust

so it disappears completely and you can hide away;

ja sellega ühte sulandub.

or even better, the huggable atomic mushroom, which got me an article

Või veel parem: kallistatav aatomiseen, millest kirjutatud artikkel

avaldati Ühendriikide tuumateadlaste ajakirjas.

on the Bulletin of Atomic Scientists of the United States --

Minu teada pole sellist asja MoMA-s varem juhtunud.

I don't think it ever happened before at MoMA;

or this Faraday Chair that is supposed to protect you from radiations.

Või siis Faraday tool, mis peaks kiirguse eest kaitsma.

But the interesting thing in the exhibition is the discovery that

Näituse huvitavaim avastus oli aga see,

the ultimate shelter is your sense of self,

et turvatunne lähtub inimesest endast.

and there are quite a few designers that are working on this particular topic.

Paljud disainerid tegelevad just selle teemaga.

This is Cindy van den Bremen, who is a Dutch designer

Siin on hollandi disaineri Cindy van der Bremeni

that's done this series of Capsters.

capsterite seeria.

They are athletic gear for Muslim women that enable them to ski, play tennis,

Capster on sportlik peakate, mis võimaldab mosleminaistel suusatada, tennist mängida

do whatever they want to do without having to uncap themselves.

pearätikut eemaldamata.

And sometimes by doing this kind of research,

Mõnikord jõutakse uurimistöö tulemusena

you encounter such beautiful ideas of design.

suurepäraste ideedeni.

Twan Verdonck is really young, I think he's 27, and working together with

Twan Verdonck on veel väga noor - vist 27-aastane -

ja psühholoogidega koos töötades

some psychologist he did a series of toys that are for sensorial

valmisid tal psüühilise häirega lastele mõeldud

stimulation for children that have psychological impairments.

sensoorset stimulatsiooni pakkuvad mänguasjad.

They're quite beautiful.

Need on päris kenad.

They range from this fluffy toy that is about hugging you --

Siin on nii kallistamiseks mõeldud karvaseid mänguasju -

because autistic children like to be hugged tight, so it has a spring inside --

sest autistlikele lastele meeldib, kui neid tugevalt kallistatakse -

all the way to this doll with a mirror so the child can see him or herself

kui ka peegliga nukke, et laps end näeks ja

in the mirror and regain a sense of self.

enesest teadlikumaks muutuks.

Design really looks upon the whole world

Disain vaatab maailma kui tervikut

and it considers the world in all of its different ranges.

ja arvestab selle erinevaid külgesid.

I was recently at a conference on luxury organized by the Herald Tribune in Istanbul.

Osalesin Istanbulis Herald Tribune'i korraldatud luksusteemalisel konverentsil.

And it was really interesting because I was the last speaker

Mis oli eriti huvitav, ma ise olin viimane esineja,

and before me there were people that were really talking about luxury,

enne mind kõnelenud rääkisid tõepoolest luksusest.

and I didn't want to be a party pooper but at the same time

Ma ei tahtnud küll tujurikkuja olla,

aga samas tundus, et ma peaksin teema ikkagi reaalsuse piiridesse tagasi tooma.

I felt that I had to kind of bring back the discourse to reality.

And the truth is that there are very different kinds of luxury,

Õigupoolest on olemas väga mitut sorti luksust.

and there's luxury that is relative for people that don't have that much.

Luksus on suhteline, eriti inimestele, kellele pole just palju antud.

I want to make this point by showing you two examples of

Et seda arusaadavamaks teha, toon teile kaks näidet disainist,

design coming from a sense of economy -- very, very clear limits.

mis lähtub väga selgelt majanduslikest piiridest.

This is Cuba, and this is the recycling of a squeaky toy as a bicycle bell,

Näiteks Kuubal töödeldakse piiksuvad mänguasjad jalgrattakelladeks ümber.

and this is a raincoat that is made out of rice sacks.

Ja see on riisikottidest tehtud vihmamantel.

So they're quite beautiful, but they're beautiful because

Need on niigi päris kenad, aga tõeliselt ilusaks teeb need

they're so smart and economical.

säästlik mõtlemine.

And here is the work of two brothers from Sao Paulo,

Siin on Sao Paulost pärit vendade töö:

Fernando and Humberto Campana, who got inspired by the poverty and

Fernando ja Humberto Campana said innustust vaesuse

ja nutikuse kombineerimisest ja hakkasid mööblit tegema,

smartness that they saw around them to do pieces of furniture that now are

mida praeguseks muidugi tohutu raha eest müüakse.

selling for an enormous amount of money.

But that's because of the kind of strangeness of the market itself.

Selle põhjuseks on kummaline turuloogika.

So really, design takes everything into account,

Niisiis, disain arvestab kõigega.

and the interesting thing is that as the technology advances,

Põnev on jälgida, kuidas me tehnoloogia arenedes

as we become more and more wireless and impalpable,

kaugeneme aina enam käelisest tegevusest,

designers, instead, want us to be hands-on.

samas kui disainerid õhutavad meid just sellega tegelema.

Sometimes hammer-on.

Vahel vägagi jõuliselt.

This is a whole series of furniture that wants to engage you physically.

Siin näete mööblit, mis kaasab inimesed ka füüsiliselt.

See tool on näiteks vaja lahti voltida ja kui sellele istuda,

Even this chair that you have to open up and then sit on so that it takes

võtab see sinu järgi kuju.

your imprint, all the way to this beautiful series of objects

Disainina võib vaadata ka Barcelonast pärit Ana Miri töid.

that are considered design by Ana Mir in Barcelona.

Alates juustest valmistatud ehetest kuni šokolaadist nibude ja kommideni,

From this kind of bijou made with human hair to these chocolate nipples

to these intra-toe candies that your lover is supposed to suck from your toes.

mida su kallim varvaste vahelt imeda saab.

(Laughter)

(Naer)

It's quite beautiful because somehow, this is a gorgeous moment for design.

See on päris kena, sest disaini jaoks on see kaunis hetk.

Many years ago I heard a mathematician from Vienna, whose name was Marchetti,

Mitmeid aastaid tagasi seletas üks Viinist pärit matemaatik, Marchetti,

kuidas uuendused sõjatööstuses, mis ei ole avalikkusele teada,

explain how the innovation in the military industry --

therefore, secret innovation -- and the innovation in the

ja uuendused tsiviilmaailmas

civilian society are two sinusoids that are kind of opposed.

toimivad justkui vastandfaasides.

And that makes sense.

Tundub loogiline.

Sõja ajal toimuvad suured tehnoloogilised murrangud.

In moments of war there's great technological innovation,

and in the world you have to do without --

Muudes valdkondades neid aga ei toimu,

well, during the Second World War, you had to do without steel,

näiteks II maailmasõja ajal tuli läbi ajada ilma terase ja alumiiniumita.

you had to do without aluminum.

And then as peace comes, all of these technologies get all of a sudden

Rahu saabudes on uued tehnoloogiad järsku

available for the civilian market.

saadaval ka tsiviilturul.

Many of you might know that the Potato Chip Chair

Ilmselt paljud teist juba teavad, et Eameside tool Potato Chip

by Charles and Ray Eames comes exactly from that kind of instance:

on just selline näide.

fiberglass was available for civilian use all of a sudden.

Klaaskiud ilmus ühtäkki tsiviilturule.

I think that this is a strange moment.

Praegune hetk tundub mulle kummaline.

The rhythm of the sinusoids has changed tremendously,

Faaside vaheldumise rütm on nüüd tohutult muutunud,

just like the rhythm of our life in the past 25 years,

sama käib ka viimase 25 aasta elurütmi kohta üldiselt.

so I'm not sure anymore what the wavelength is.

Nii et ma ei ole enam kindel, kas see väide kehtib.

But it surely is a very important moment for design,

Kahtlemata on tegemist disaini jaoks olulise hetkega.

because not only is the technology proceeding, not only is computing

Mitte ainult tehnoloogia edendamine,

mis toob avatud platvormid ka disainimaailma,

technology making open-source possible also in the world of design,

aga ka jätkusuutlikkuse idee -

but also the idea of sustainability --

which is not only sustainability from the viewpoint of CO2 emissions and footprint,

mitte ainult säästlikkuse, CO2 emissioonide ja ökoloogilise jalajälje

but also sustainability of human interrelationships --

vähendamise seisukohast, vaid ka inimsuhetes,

is very much part of the work of so many designers.

on suurel määral disainerite töö osa.

And that's why designers, more and more, are working on behaviors

Järjest enam tegelevad disainerid pigem käitumise kui esemetega.

rather than on objects.

Especially the good ones, not all of them.

Muidugi mitte kõik, osavamad aga küll.

I wanted to show you, for instance, the work of Mathieu Lehanneur,

Ma näitaks teile veel üht suurepärast Mathieu Lehanneuri tööd.

which is quite fantastic.

He's another young designer from France who's working --

Ta on noor prantsuse disainer,

kes teeb hetkel koostööd ravimifirmadega,

and at this point he's working, also, with pharmaceutical companies --

on new ways to engage patients, especially children,

et leida uusi viise, kuidas patsientidele, ja eriti lastele,

in taking their medicines with constancy and with certainty.

meenutada, et nad peavad rohtu võtma.

For instance, this is a beautiful container for asthma medicine

Näiteks see tore astmaravimi konteiner,

that kind of inflates itself when it's time for you to take the medicine,

mis end täis puhub, kui on aeg rohtu võtta.

so the child has to go -- pffff! -- to release and relieve the container itself.

Laps peab konteineri taas tühjaks laskma.

And this other medicine is something that you can draw on your skin,

Siin on ravim, millega on võimalik nahale joonistada.

so intradermal delivery enables you to joyfully be involved

Nii et lõbusa tegevuse käigus

imendub ravim läbi naha.

in this particular kind of delivery.

Similarly, there's the work of people like Marti Guixe that tries to involve

Samamoodi püüab Marti Giuxe oma töös panna inimesi tarbimise üle mõtlema,

you in a way that is really about making everything pass through your mouth

neile sõna otsese mõttes kõik sisse söötes.

so that you learn from your mistakes or from your taste, orally.

Nii õpitakse oma vigadest ja maitsest.

The next show that I'm going to work on --

Järgmine näitus, mille kallal tööle hakkan -

and I've been bugging a lot of you about this here --

ja paljud teist juba teavad seda -

is about the relationship between design and science.

tegeleb disaini ja teaduse suhtega.

I'm trying to find not the metaphors, but, rather, the points in common --

Ma ei otsi mitte niivõrd metafoore kui püüan leida kokkupuutepunkte:

the common gripes, the common issues, the common preoccupations --

ühiseid probleeme, teemasid ja mõttesuundi.

and I think that it will enable us to go a little further in this idea of design

Mulle tundub, et see võimaldab ka disaini mõtestamisel kaugemale minna:

as an instruction, as a direction rather than a prescription of form.

disain kui sisu ja mitte pelgalt ettekirjutus või vorm.

And I am hoping that many of you will respond to this.

Ma loodan, et paljud teist vastavad sellele üleskutsele.

I've sent an email already to quite a few of you.

Nii mõnelegi olen ma juba e-maili saatnud.

But design and science and the possibility of visualizing different scales,

Disaini ja teaduse ühendamine lubab

and therefore, really work at the scale of the very small

väikeste asjade kaudu

to make it very big and very meaningful.

suurte ja tähendusrikaste probleemideni jõuda.

Thank you. (Applause)

Tänan teid.