Design at the Intersection of Technology and Biology | Neri Oxman | TED Talks

Prevoditelj: Martina Juranic Recezent: Ivan Stamenković

Two twin domes,

Dvije kupole blizanke,

two radically opposed design cultures.

dva radikalno suprotna načina dizajna.

One is made of thousands of steel parts,

Jedna je napravljena od tisuću metalnih dijelova,

the other of a single silk thread.

druga od jedne niti svile.

One is synthetic, the other organic.

Jedna je sintetička, druga organska.

One is imposed on the environment,

Jedna je nametnuta okolišu,

the other creates it.

druga ga stvara.

One is designed for nature, the other is designed by her.

Jedna je stvorena za prirodu, druga je stvorena od nje.

Michelangelo said that when he looked at raw marble,

Michelangelo je rekao da gledajući neobrađeni mramor,

he saw a figure struggling to be free.

vidi kip koji se bori da bude oslobođen.

The chisel was Michelangelo's only tool.

Michelangelov jedini alat bilo je dlijeto.

But living things are not chiseled.

Ali živa bića nisu izdubljena.

They grow.

Ona rastu.

And in our smallest units of life, our cells, we carry all the information

U našim najmanjim jedinicama života, našim stanicama, nosimo informaciju

that's required for every other cell to function and to replicate.

potrebnu za svaku drugu stanicu da funkcionira i da se dijeli.

Tools also have consequences.

Alati također imaju posljedice.

At least since the Industrial Revolution, the world of design has been dominated

Nakon industrijske revolucije svijetom dizajna su dominirale

by the rigors of manufacturing and mass production.

surova izrada i masovna prozivodnja.

Assembly lines have dictated a world made of parts,

Linije sklapajućih dijelova su diktirale svijetom napravljenim od dijelova,

framing the imagination of designers and architects

zarobljavajući maštu dizajnera i arhitekata

who have been trained to think about their objects as assemblies

koji su školovani da gledaju na objekte kao na sklapajuće,

of discrete parts with distinct functions.

odvojene dijelove s odvojenim funkcijama.

But you don't find homogenous material assemblies in nature.

Ali u prirodi se ne mogu naći homogeni sklopivi materijali.

Take human skin, for example.

Uzmimo ljudsku kožu kao primjer.

Our facial skins are thin with large pores.

Naša koža lica je tanka s velikim porama.

Our back skins are thicker, with small pores.

Koža leđa je deblja s manjim porama.

One acts mainly as filter,

Jedna uglavnom dijeluje kao filter,

the other mainly as barrier,

a druga uglavnom kao barijera,

and yet it's the same skin: no parts, no assemblies.

a opet to je ista koža; bez dijelova i bez sklopivih dijelova.

It's a system that gradually varies its functionality

To je sustav koji postepeno mijenja svoju svrhu

by varying elasticity.

varirajući elastičnost.

So here this is a split screen to represent my split world view,

Ovdje je razdvojeni ekran koji prikazuje moj podijeljen svjetonazor,

the split personality of every designer and architect operating today

tj. podijeljenu osobnost svakog dizajnera i arhitekta koji rade danas,

between the chisel and the gene,

između dlijeta i gena,

between machine and organism, between assembly and growth,

između stroja i organizma, između sklapanja dijelova i rasta,

between Henry Ford and Charles Darwin.

između Henryja Forda i Charlesa Darwina.

These two worldviews, my left brain and right brain,

Ta dva svjetonazora, moja lijeva i desna polutka mozga,

analysis and synthesis, will play out on the two screens behind me.

analiza i sinteza, prikazat će se na dva ekrana iza mene.

My work, at its simplest level,

Moj rad, na najednostavnijoj razini,

is about uniting these two worldviews,

temelji se na ujedinjenju ta dva nadzora,

moving away from assembly

odmicanjem od sklapanja

and closer into growth.

i približavanju rastu.

You're probably asking yourselves:

Vjerojatno se pitate:

Why now?

Zašto sada?

Why was this not possible 10 or even five years ago?

Zašto to nije bilo moguće prije deset ili čak pet godina?

We live in a very special time in history,

Živimo u posebno doba u povijesti,

a rare time,

rijetko vrijeme,

a time when the confluence of four fields is giving designers access to tools

vrijeme kada se ujedinjuju četiri polja koja daju dizajnerima pristup alatima

we've never had access to before.

koje nikad prije nisu imali.

These fields are computational design,

Ta polja su komputacijski dizajn

allowing us to design complex forms with simple code;

koji nam omogućuje da dizajniramo složene forme preko jednostavnog koda;

additive manufacturing, letting us produce parts

aditivna manufaktura koji nam omgućuje stvaranje dijelova

by adding material rather than carving it out;

dodavanjem materijala umjesto da ga izrezbarimo;

materials engineering, which lets us design the behavior of materials

inženjering materijala koji nam omogućuje dizajniranje ponašanja materijala

in high resolution;

u visokoj rezoluciji;

and synthetic biology,

i sintetička biologija

enabling us to design new biological functionality by editing DNA.

koja omogućuje dizajn novih bioloških funkcija promijenom DNA.

And at the intersection of these four fields,

Na sjecištu tih četiri disciplina,

my team and I create.

moj tim i ja stvaramo.

Please meet the minds and hands

Molim vas upoznajte umove i ruke

of my students.

mojih studenata.

We design objects and products and structures and tools across scales,

Mi dizajniramo objekte i proizvode i strukture i alate na svim skalama,

from the large-scale,

od velikih,

like this robotic arm with an 80-foot diameter reach

kao što je ova robotska ruka s promjerom dosega 25 metara,

with a vehicular base that will one day soon print entire buildings,

na mobilnoj bazi koja će uskoro printati cijele zgrade,

to nanoscale graphics made entirely of genetically engineered microorganisms

do grafika u nanoskali napravljene od genetički promijenjenih mikroorganizma

that glow in the dark.

koji svijetle u mraku.

Here we've reimagined the mashrabiya,

Iznova smo izradili mašrabiju,

an archetype of ancient Arabic architecture,

arhetip drevne arapske arhitekture,

and created a screen where every aperture is uniquely sized

i stvorili ekran gdje je svaki otvor jednake veličine

to shape the form of light and heat moving through it.

kako bi oblikovali svijetlo i toplinu koji se kreću kroz njih.

In our next project,

U sljedećom projektu,

we explore the possibility of creating a cape and skirt --

istažili smo mogućnost izrade ogrtača i suknje --

this was for a Paris fashion show with Iris van Herpen --

to smo učinili s Iris van Herpen za Paris fashion show --

like a second skin that are made of a single part,

poput druge kože napravljene od jednog komada,

stiff at the contours, flexible around the waist.

čvrsta na konturama, pokretljiva oko struka.

Together with my long-term 3D printing collaborator Stratasys,

Zajedno sa mojim dugogodišnjim suradnikom za 3D printanje, Stratasys,

we 3D-printed this cape and skirt with no seams between the cells,

3D smo isprintali ogrtač i suknju bez šavova između stanica,

and I'll show more objects like it.

a pokazat ću vam još takvih objekata.

This helmet combines stiff and soft materials

Ova kaciga kombinira čvste i mekane materijale

in 20-micron resolution.

u rezoluciji od 20 mikrona.

This is the resolution of a human hair.

To je rezolucija ljudske vlasi kose.

It's also the resolution of a CT scanner.

To je također rezolcija CT skenera.

That designers have access

Mogućnost pristupa dizajnera

to such high-resolution analytic and synthetic tools,

takvim visoko-rezolucijskim analitičkim i sintetičkim alatima

enables to design products that fit not only the shape of our bodies,

omogućuje da dizajniramo produkte koji ne samo da odgovaraju obliku naših tijela,

but also the physiological makeup of our tissues.

nego također i fiziološkoj naravi naših tkiva.

Next, we designed an acoustic chair,

Sljedeće, dizajnirali smo akustičnu stolicu,

a chair that would be at once structural, comfortable

stolicu koja ima strukturu, ugodna je

and would also absorb sound.

ali i upija zvukove.

Professor Carter, my collaborator, and I turned to nature for inspiration,

Profesor Carter, moj suradnik, i ja tražimo nadahnuće u prirodi.

and by designing this irregular surface pattern,

Dizajnirajući nepravilni površinski uzorak

it becomes sound-absorbent.

ona postaje upijajuća za zvuk.

We printed its surface out of 44 different properties,

Isprintali smo površinu sa 44 različita svojstva

varying in rigidity, opacity and color,

koja su varirala u krutosti, prozirnosti i boji

corresponding to pressure points on the human body.

koje su odgovarale točkama pritiska na ljudsko tijelo.

Its surface, as in nature, varies its functionality

Ta površina, kao i u prirodi, varira svoju funkcionalnost

not by adding another material or another assembly,

ne dodavanjem drugog materijala ili drugog dijela,

but by continuously and delicately varying material property.

nego konstantnim i profinjenim variranjem svojstva materijala.

But is nature ideal?

Ali je li priroda idealna?

Are there no parts in nature?

Postoje li dijelovi u prirodi?

I wasn't raised in a religious Jewish home,

Ja nisam odgojena u pobožnom židovskom domu,

but when I was young,

ali kad sam bila mala,

my grandmother used to tell me stories from the Hebrew Bible,

moja baka mi je znala prepričavati priče iz židovske Biblije,

and one of them stuck with me and came to define much of what I care about.

i jedna od njih je ostala urezana u meni i definira sve do čega mi je stalo.

As she recounts:

Kako je ona prepričavala:

"On the third day of Creation, God commands the Earth

"Na treći dan Stvaranja, Bog zapovijedi Zemlji

to grow a fruit-bearing fruit tree."

da iznikne drvo koje nosi voće."

For this first fruit tree, there was to be no differentiation

U te prve voćki nije bilo razlike

between trunk, branches, leaves and fruit.

između stabla, grana, lišća i voća.

The whole tree was a fruit.

Cijelo drvo je bilo voće.

Instead, the land grew trees that have bark and stems and flowers.

Umjesto toga zemlja je iznikla drveće s deblom, stabljikom i cvijećem.

The land created a world made of parts.

Zemlja je stvorila svijet sačinjen od dijelova.

I often ask myself,

Često se pitam,

"What would design be like if objects were made of a single part?

"Kakav bi bio dizajn kada bi objekti bili sačinjeni od jednog dijela?"

Would we return to a better state of creation?"

Bismo li došli na više stanje stvaranja?

So we looked for that biblical material,

I tražili smo taj biblijski materijal,

that fruit-bearing fruit tree kind of material, and we found it.

to drvo-voće tip materijala, i pronašli ga.

The second-most abundant biopolymer on the planet is called chitin,

Drugi najučestaliji biopolimer na planetu je hitin,

and some 100 million tons of it are produced every year

i otprilike se proizvede 100 milijuna tona svake godine

by organisms such as shrimps, crabs, scorpions and butterflies.

pomoću organizama kao što su škampi, rakovi, škorpioni i leptiri.

We thought if we could tune its properties,

Razmišljali smo da ako možemo podesiti svojstva hitina,

we could generate structures that are multifunctional

možemo stvoriti strukture koje su višefunkcionalne

out of a single part.

i od jednog dijela.

So that's what we did.

To smo i napravili.

We called Legal Seafood --

Nazvali smo Legal Seafood --

(Laughter)

(Smijeh)

we ordered a bunch of shrimp shells,

naručili hrpetinu ljuštura škampa

we grinded them and we produced chitosan paste.

samljeli ih i stvorili pastu od hitina.

By varying chemical concentrations,

Varirajući koncentracije kemikalija,

we were able to achieve a wide array of properties --

možemo postići različita svojstva --

from dark, stiff and opaque,

od tamnog, čvrstog i mutnog,

to light, soft and transparent.

do svijetlog, mekanog i prozirnog.

In order to print the structures in large scale,

Kako bismo isprintali strukture u većoj skali,

we built a robotically controlled extrusion system with multiple nozzles.

napravili smo robotski kontroliran sustav s više brizgalica za izbacivanje.

The robot would vary material properties on the fly

Robot varira svojstva materijala spontano

and create these 12-foot-long structures made of a single material,

i stvara ovakve strukture dugačke 3.5 metra sačinjene od jednog materijala,

100 percent recyclable.

ujedno 100% reciklirajuće.

When the parts are ready, they're left to dry

Kada su dijelovi gotovi, ostavljamo ih da se posuše

and find a form naturally upon contact with air.

i dobe oblik na prirodan način u kontaktu sa zrakom.

So why are we still designing with plastics?

Zašto onda još uvijek dizajniramo s plastikom?

The air bubbles that were a byproduct of the printing process

Mjehurići zraka koji su popratni prozivod printanja

were used to contain photosynthetic microorganisms

upotrebljeni su za uzgoj fotosintetskih mikroorganizama

that first appeared on our planet 3.5 billion year ago,

koji su se prvi puta pojavili na planetu prije 3,5 milijarde godina,

as we learned yesterday.

kao što smo naučili jučer.

Together with our collaborators at Harvard and MIT,

Zajedno sa našim suradnicima na Harvard-u i MIT-u,

we embedded bacteria that were genetically engineered

uklopili smo bakterije koje su bile genetički modificirane

to rapidly capture carbon from the atmosphere

da brzo absorbiraju ugljik iz atmosfere

and convert it into sugar.

i pretvaraju ga u šećer.

For the first time,

Po prvi puta,

we were able to generate structures that would seamlessly transition

uspjeli smo stvoriti strukture koje bez šavova prelaze

from beam to mesh,

iz snopa u mrežu

and if scaled even larger, to windows.

i ako se skala još poveća, u prozore.

A fruit-bearing fruit tree.

Drvo-voće.

Working with an ancient material,

Radeći sa drevnim materijalom

one of the first lifeforms on the planet,

jednim od prvih oblika života na planetu,

plenty of water and a little bit of synthetic biology,

mnoštvo vode i malo sintetičke biologije,

we were able to transform a structure made of shrimp shells

uspijeli smo pretvoriti strukturu sačinjenu od ljusaka škampa

into an architecture that behaves like a tree.

u arhitekturu koja se ponaša kao drvo.

And here's the best part:

I što je najbolje:

objekti koji su dizajnirani da budu biorazgradivi,

for objects designed to biodegrade,

put them in the sea, and they will nourish marine life;

stavite ih u more i hranit će morski svijet;

place them in soil, and they will help grow a tree.

stavite ih u zemlju i pomoć će u rastu drveta.

The setting for our next exploration using the same design principles

Okolina za naše sljedeće istraživanje uz iste principe dizajna,

was the solar system.

bila je Sunčev sustav.

We looked for the possibility of creating life-sustaining clothing

Tražili smo načine kreairanja odjeće koja održava na životu

for interplanetary voyages.

tijekom međuplanetarnih putovanja.

To do that, we needed to contain bacteria and be able to control their flow.

Kako bi to učinili, trebali smo pohraniti bakterije i kontrolirati njihov protok.

So like the periodic table, we came up with our own table of the elements:

Poput periodnog sustava elemenata, mi smo osmislili svoju tablicu elemenata:

new lifeforms that were computationally grown,

nove oblike života koji rastu komputacijski,

additively manufactured

aditivno manufaktirani

and biologically augmented.

i biološki poboljšani.

I like to think of synthetic biology as liquid alchemy,

Volim gledati na sintetičku biologiju kao tekuću alkemiju,

only instead of transmuting precious metals,

samo što umjesto mijenjanja dragocijenih metala,

you're synthesizing new biological functionality inside very small channels.

mi sintetiziramo nove biološke funkcije unutar vrlo malih kanala.

It's called microfluidics.

To se zove mikrofluidnost.

We 3D-printed our own channels in order to control the flow

Mi smo isprintali u 3D kanale koji će kontrolirali tok

of these liquid bacterial cultures.

tih tekućih bakterijskih kultura.

In our first piece of clothing, we combined two microorganisms.

U našoj prvom komadu odjeće, iskombinrali smo dvije vrste mikroorganizama.

The first is cyanobacteria.

Prve su cijanobakterije.

It lives in our oceans and in freshwater ponds.

One žive u oceanima i slatkovodnim lokvama.

And the second, E. coli, the bacterium that inhabits the human gut.

Druge, E. coli su bakterije koje naseljavaju ljudski probavni trakt.

One converts light into sugar, the other consumes that sugar

Jedna pretvara svjetost u šećer, druga konzumira taj šećer

and produces biofuels useful for the built environment.

i stvara biogoriva korisna za graditeljstvo.

Now, these two microorganisms never interact in nature.

Ta dva mikroorganizma nikada nisu bili u interakciji u prirodi.

In fact, they never met each other.

U stvari nikada se nisu upoznali.

They've been here, engineered for the first time,

Oni su ovdje inžinjirani po prvi puta

to have a relationship inside a piece of clothing.

kako bi imali interakciju unutar komada odjeće.

Think of it as evolution not by natural selection,

Gledajte na to ne kao evoluciju prirodnom selekcijom,

but evolution by design.

nego evoluciju po dizajnu.

In order to contain these relationships,

Kako bi održali taj odnos,

we've created a single channel that resembles the digestive tract,

stvorili smo jedan kanal koji podsjeća na probavni trakt,

that will help flow these bacteria and alter their function along the way.

a pomoći će u toku tih bakterija i putem mijenjati njihovu funkciju.

We then started growing these channels on the human body,

Onda smo počeli uzgajati te kanale na ljudskom tijelu

varying material properties according to the desired functionality.

i mijenjali svojstva materijala prema željenoj svrsi.

Where we wanted more photosynthesis, we would design more transparent channels.

Tamo gdje smo željeli više fotosinteze, dizajnirali smo prozirnije kanale.

This wearable digestive system, when it's stretched end to end,

Taj nosivi probavni sustav kada se rastegne od početka do kraja,

spans 60 meters.

proteže se preko 60 metara.

This is half the length of a football field,

To je pola dužine nogometnog igrališta

and 10 times as long as our small intestines.

i 10 puta dulje od našeg tankog crijeva.

And here it is for the first time unveiled at TED --

I ovdje po prvi puta u TED-u objelodanjujemo javnosti --

our first photosynthetic wearable,

našu prvu fotosintetsku odjeću,

liquid channels glowing with life inside a wearable clothing.

tekuće kanale koji svijetle životom unutar nosive odjeće.

(Applause)

(Pljesak)

Thank you.

Hvala.

Mary Shelley said, "We are unfashioned creatures, but only half made up."

Mary Shelley je kazala, "Mi smo nepotpuna bića, samo polovično napravljena."

What if design could provide that other half?

Što ako bi dizajn mogao dopuniti drugu polovicu?

What if we could create structures that would augment living matter?

Što ako bi mogli stvarati strukture koje bi mogle poboljšati živu tvar?

What if we could create personal microbiomes

Što ako bi mogli stvarati osobne mikrobiome

that would scan our skins, repair damaged tissue

koji bi skenirali našu kožu, popravili oštećena tkiva

and sustain our bodies?

i održavala naša tijela?

Think of this as a form of edited biology.

Gledajte na to kao na oblik uređivačke biologije.

This entire collection, Wanderers, that was named after planets,

Cijela kolekcija "Istraživači" nazvana prema planetima,

was not to me really about fashion per se,

meni osobno nije bila zbog mode

but it provided an opportunity to speculate about the future

nego je dala mogućnost spekuliranja o budućnosti

of our race on our planet and beyond,

naše rase na planetu i izvan,

to combine scientific insight with lots of mystery

kako bi spojili znanstveni uvid i mnoštvo zagonetki

and to move away from the age of the machine

te kako bi se maknuli dalje od doba strojeva

to a new age of symbiosis between our bodies,

u novo doba simbioze između naših tijela,

the microorganisms that we inhabit,

mikroorganizama koji nas nastanjuju,

our products and even our buildings.

proizvoda i čak građevina.

I call this material ecology.

Ja to zovem materijalnom ekologijom.

To do this, we always need to return back to nature.

Kako bi to učinili, trebamo se vratiti prirodi.

By now, you know that a 3D printer prints material in layers.

Do sada znate da 3D printer printa materijale u slojevima.

You also know that nature doesn't.

Također znate da priroda to ne čini.

It grows. It adds with sophistication.

Ona raste. Dodaje sa profinjenošću.

This silkworm cocoon, for example,

Ova kukuljica dudovog svilca, na primjer,

creates a highly sophisticated architecture,

stvara vrlo profinjenu građevinu,

a home inside which to metamorphisize.

dom unutar kojeg metamorfizira.

No additive manufacturing today gets even close to this level of sophistication.

Niti jedna aditivna manufaktura danas nije ni blizu toj razini profinjenosti.

It does so by combining not two materials,

To se postiže kombinacijom ne dva materijala,

but two proteins in different concentrations.

nego dva proteina u različitim koncentracijama.

One acts as the structure, the other is the glue, or the matrix,

Jedan djeluje kao struktura, drugi kao ljepilo, ili kao kalup,

holding those fibers together.

koji drži ta vlakna na mjestu.

And this happens across scales.

I to se događa na svim skalama.

The silkworm first attaches itself to the environment --

Dudov svilac se prvo prihvati za okoliš --

it creates a tensile structure --

stvara napetu strukturu --

and it then starts spinning a compressive cocoon.

i onda počne plesti zbijenu kukuljicu.

Tension and compression, the two forces of life,

Napetost i sažimanje, dvije životne sile,

manifested in a single material.

očitovane u jedom materijalu.

In order to better understand how this complex process works,

Kako bi bolje razumjeli kako taj složeni proces radi,

we glued a tiny earth magnet

zalijepili smo mali magnet

to the head of a silkworm, to the spinneret.

na glavu dudovog svilca, na žlijezdu.

We placed it inside a box with magnetic sensors,

Smjestili smo ga unutar kutije s magnetskim senzorima

and that allowed us to create this 3-dimensional point cloud

što nam je omogućilo da stvorimo trodimenzionalni oblak točaka

and visualize the complex architecture of the silkworm cocoon.

i vizualiziramo složenu arhitekturu kukuljice dudovog svilca.

However, when we placed the silkworm on a flat patch,

Međutim, kada smo smjetili dudovog svilca na ravnu podlogu,

not inside a box,

ne u kutiju,

we realized it would spin a flat cocoon

shvatili smo da plete ravnu kukuljicu

and it would still healthily metamorphisize.

i svejedno je zdravo metamorfizirao.

So we started designing different environments, different scaffolds,

Počeli smo dizajnirati različite okoliše, različite podloge,

and we discovered that the shape, the composition,

i otkrili da su oblik, sastav,

the structure of the cocoon, was directly informed by the environment.

stuktura kukuljice direktno određena okolišem.

Silkworms are often boiled to death inside their cocoons,

Dudovi svilci su često skuhani na smrt unutar svojih kukuljica,

their silk unraveled and used in the textile industry.

njihova svila se odmotova i koristi u tekstilnoj industriji.

We realized that designing these templates allowed us to give shape to raw silk

Shvatili smo da dizajniranjem tih kalupa omogućujemo oblikavanje sirove svili

without boiling a single cocoon.

bez kuhanja ijedne kukuljice.

(Applause)

(Pljesak)

They would healthily metamorphisize,

Oni bi zdravo metamorfizirali,

and we would be able to create these things.

a mi možemo stvarati te stvari.

So we scaled this process up to architectural scale.

Povećali smo skalu do arhitektonskog nivoa.

We had a robot spin the template out of silk,

Robot je pleo kalup iz svile,

and we placed it on our site.

a mi smo ju smjestili na naše mjesto.

We knew silkworms migrated toward darker and colder areas,

Znali smo da će dudovi svilci migrirati prema tamnijim i hladnijim područjima

so we used a sun path diagram to reveal the distribution

i napravili smo dijagram putanje sunca kako bi otkrili raspodjelu

of light and heat on our structure.

svjetla i topline u našoj strukturi.

We then created holes, or apertures,

Tada smo stvorili rupe ili otvore

that would lock in the rays of light and heat,

koje su mogle propustiti zrake svjetla i toplinu

distributing those silkworms on the structure.

te tako razmještati dudove svilce na strukturi.

We were ready to receive the caterpillars.

Bili smo spremni za doček gusjenica.

We ordered 6,500 silkworms from an online silk farm.

Naručili smo 6 500 dudovih svilca preko online farme svile.

And after four weeks of feeding, they were ready to spin with us.

Nakon četiri tjedna hranjenja, bili su spremni da pletu s nama.

We placed them carefully at the bottom rim of the scaffold,

Pažljivo smo ih položili na donji obruč podloga

and as they spin they pupate, they mate, they lay eggs,

i kako pletu, pupaju, pare se, liježu jaja

and life begins all over again -- just like us but much, much shorter.

i život počinje iznova -- baš kao i u nas, samo puno kraće.

Bucky Fuller said that tension is the great integrity,

Bucky Fuller je kazao da napetost daje cjelovitost,

and he was right.

i bio je u pravu.

As they spin biological silk over robotically spun silk,

Kako oni pletu biološku svilu preko robotski predene svile,

they give this entire pavilion its integrity.

daju cijelom paviljonu cjelovitost.

And over two to three weeks,

I nakon dva do tri tjedna,

6,500 silkworms spin 6,500 kilometers.

6 500 dudovih svilca su ispleli 6 500 kilometra.

In a curious symmetry, this is also the length of the Silk Road.

Zanimljiva paralela jest da je to ujedno i dužina Puta svile.

The moths, after they hatch, produce 1.5 million eggs.

Nakon što se izliježu, moljci proizvedu 1,5 milijuna jajašca.

This could be used for 250 additional pavilions for the future.

To bi se moglo iskoristiti za 250 dodatnih paviljona u budućnosti.

So here they are, the two worldviews.

I tako, ovdje su predstavljena dva svjetonazora.

One spins silk out of a robotic arm,

Jedan prede svilu iz robotske ruke,

the other fills in the gaps.

a drugi puni praznine.

If the final frontier of design is to breathe life into the products

Ako je posljednja granica dizajna udahnuti život u proizvode

and the buildings around us,

i građevine koje nas okružuju,

to form a two-material ecology,

da bi stvorili ekologiju dva materijala,

then designers must unite these two worldviews.

tada dizajneri trebaju ujediniti ta dva svjetonazora.

Which brings us back, of course, to the beginning.

Što nas vraća na početak, naravno.

Here's to a new age of design, a new age of creation,

Nazdravljam novom dobu dizajna, novom dobu stvaranja

that takes us from a nature-inspired design

koje nas vodi od dizajna inspiranog prirodom

to a design-inspired nature,

do priorode inspirirane dizajnom,

and that demands of us for the first time

što od nas po prvi put zahtjeva

that we mother nature.

da smo mi majka prioroda.

Thank you.

Hvala.

(Applause)

(Pljesak)

Thank you very much. Thank you.

Puno vam hvala. Hvala.

(Applause)

(Pljesak)