Michael Hansmeyer: Building unimaginable shapes

184,755 views ใƒป 2012-07-27

TED


์•„๋ž˜ ์˜๋ฌธ์ž๋ง‰์„ ๋”๋ธ”ํด๋ฆญํ•˜์‹œ๋ฉด ์˜์ƒ์ด ์žฌ์ƒ๋ฉ๋‹ˆ๋‹ค.

00:00
Translator: Morton Bast Reviewer: Thu-Huong Ha
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๋ฒˆ์—ญ: HeeJee Yun ๊ฒ€ํ† : K Bang
00:15
As an architect, I often ask myself,
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๊ฑด์ถ•๊ฐ€๋กœ์„œ, ์ €๋Š” ๊ฐ€๋” ์ € ์ž์‹ ์—๊ฒŒ ์งˆ๋ฌธ์„ ๋˜์ง‘๋‹ˆ๋‹ค.
00:18
what is the origin of the forms that we design?
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์šฐ๋ฆฌ๊ฐ€ ๋””์ž์ธ ํ•˜๋Š” ํ˜•ํƒœ์˜ ์›์ฒœ์€ ๋ฌด์—‡์ผ๊นŒ?
00:21
What kind of forms could we design
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๋งŒ์•ฝ ๋‹ค๋ฅธ ๊ฒƒ์„ ์ฐธ๊ณ  ํ•  ์ˆ˜ ์—†๋‹ค๋ฉด
00:23
if we wouldn't work with references anymore?
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์šฐ๋ฆฌ๊ฐ€ ๋””์ž์ธ ํ•  ์ˆ˜ ์žˆ๋Š” ํ˜•ํƒœ๋Š” ์–ด๋–ค ๊ฒƒ์ธ๊ฐ€?
00:26
If we had no bias, if we had no preconceptions,
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์šฐ๋ฆฌ๊ฐ€ ํŽธ๊ฒฌ๋„ ์—†๊ณ , ์‚ฌ์ „ ์ง€์‹๋„ ์—†๋‹ค๋ฉด
00:30
what kind of forms could we design
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์šฐ๋ฆฌ๊ฐ€ ๋””์ž์ธ ํ•  ์ˆ˜ ์žˆ๋Š” ํ˜•ํƒœ๋Š” ์–ด๋–ค ๊ฒƒ์ธ๊ฐ€,
00:32
if we could free ourselves from
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์šฐ๋ฆฌ๊ฐ€ ๊ฒฝํ—˜์œผ๋กœ๋ถ€ํ„ฐ ์šฐ๋ฆฌ๋ฅผ ๋ถ„๋ฆฌํ•  ์ˆ˜ ์žˆ๋‹ค๋ฉด
00:33
our experience?
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์–ด๋–จ๊นŒ?
00:36
If we could free ourselves from our education?
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์šฐ๋ฆฌ๊ฐ€ ๊ต์œก์œผ๋กœ๋ถ€ํ„ฐ ์šฐ๋ฆฌ๋ฅผ ๋ถ„๋ฆฌํ•  ์ˆ˜ ์žˆ๋‹ค๋ฉด
00:40
What would these unseen forms look like?
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์ง€๊ธˆ๊นŒ์ง€ ํ•œ๋ฒˆ๋„ ๋ณด์ง€ ๋ชปํ–ˆ๋˜ ํ˜•ํƒœ๋Š” ์–ด๋–ป๊ฒŒ ์ƒ๊ฒผ์„๊นŒ?
00:43
Would they surprise us? Would they intrigue us?
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์ด๋Ÿฐ ๊ฒƒ๋“ค์€ ์šฐ๋ฆฌ๋ฅผ ๋†€๋ผ๊ฒŒ ํ• ๊นŒ? ์šฐ๋ฆฌ์—๊ฒŒ ์˜๊ฐ์„ ์ค„๊นŒ?
00:47
Would they delight us?
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์•„๋‹ˆ๋ฉด, ์šฐ๋ฆฌ๋ฅผ ์ฆ๊ฒ๊ฒŒ ํ• ๊นŒ?
00:49
If so, then how can we go about creating something that is truly new?
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๊ทธ๋ ‡๋‹ค๋ฉด, ์ •๋ง ์ƒˆ๋กœ์šด ๊ฒƒ์„ ์šฐ๋ฆฌ๋Š” ์–ด๋–ป๊ฒŒ ์ฐฝ์กฐํ•ด ๋‚ผ ์ˆ˜ ์žˆ์„๊นŒ?
00:53
I propose we look to nature.
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์ €๋Š” ์šฐ๋ฆฌ๊ฐ€ ์ž์—ฐ์„ ์ƒ๊ฐํ•ด์•ผ ํ•œ๋‹ค๊ณ  ์ƒ๊ฐํ•ฉ๋‹ˆ๋‹ค.
00:56
Nature has been called the greatest architect of forms.
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์ž์—ฐ์€ ๊ฐ€์žฅ ๋›ฐ์–ด๋‚œ ๊ฑด์ถ•๋ฌผ์ด๋ผ ๋ถˆ๋ ค์™”์Šต๋‹ˆ๋‹ค.
01:00
And I'm not saying that we should copy nature,
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์šฐ๋ฆฌ๊ฐ€ ์ž์—ฐ์„ ๋˜‘๊ฐ™์ด ๋ณต์‚ฌํ•ด์•ผ ํ•œ๋‹ค๊ณ  ํ•˜๋Š” ๊ฒƒ์ด ์•„๋‹™๋‹ˆ๋‹ค.
01:04
I'm not saying we should mimic biology,
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ํ˜น์€, ์ƒ๋ฌผ์„ ๋”ฐ๋ผํ•ด์•ผ ํ•œ๋‹ค๊ณ  ํ•˜๋Š” ๊ฒƒ์ด ์•„๋‹™๋‹ˆ๋‹ค.
01:06
instead I propose that we can borrow nature's processes.
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๊ทธ๋Œ€์‹  ์šฐ๋ฆฌ๋Š” ์ž์—ฐ์˜ ๊ฑด์ถ• ๊ณผ์ •์„ ๋นŒ๋ฆด ์ˆ˜ ์žˆ์Šต๋‹ˆ๋‹ค.
01:09
We can abstract them and to create something that is new.
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์šฐ๋ฆฌ๋Š” ์ž์—ฐ์˜ ๊ณผ์ •์„ ์ถ”์ƒํ™”์‹œ์ผœ ์ƒˆ๋กœ์šด ๊ฒƒ์„ ์ฐฝ์กฐํ•˜๋Š” ๋ฐ ์“ธ ์ˆ˜ ์žˆ์Šต๋‹ˆ๋‹ค.
01:14
Nature's main process of creation, morphogenesis,
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์ž์—ฐ์—์„œ ๊ฐ€์žฅ ์ค‘์š”ํ•œ ์ฐฝ์กฐ ๋˜๋Š” ํ˜•ํƒœ ํ˜•์„ฑ ๊ณผ์ •์€
01:18
is the splitting of one cell into two cells.
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ํ•˜๋‚˜์˜ ์„ธํฌ๋ฅผ ๋‘๊ฐœ๋กœ ๋ถ„๋ฆฌํ•˜๋Š” ๊ณผ์ •์ž…๋‹ˆ๋‹ค
01:22
And these cells can either be identical,
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์ด๋Ÿฌํ•œ ์„ธํฌ๋“ค์€ ๋˜‘๊ฐ™์„ ์ˆ˜๋„ ์žˆ๊ณ 
01:24
or they can be distinct from each other
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๋น„๋Œ€์นญ์ ์ธ ๋ถ„๋ฆฌ๋ฅผ ํ†ตํ•ด์„œ๋Š”
01:26
through asymmetric cell division.
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๋‹ฌ๋ผ์งˆ ์ˆ˜๋„ ์žˆ์Šต๋‹ˆ๋‹ค.
01:28
If we abstract this process, and simplify it as much as possible,
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์ด ๊ณผ์ •์„ ์ถ”์ƒํ™”ํ•˜์—ฌ ์ตœ๋Œ€ํ•œ ๊ฐ„๋‹จํžˆ ๋งŒ๋“ ๋‹ค๋ฉด
01:32
then we could start with a single sheet of paper,
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์ข…์ด ํ•œ์žฅ์„ ๊ฐ€์ง€๊ณ 
01:34
one surface, and we could make a fold
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์ ‘์œผ๋ฉด
01:36
and divide the surface into two surfaces.
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ํ•œ ํ‰๋ฉด์„ ๋‘ ํ‰๋ฉด์œผ๋กœ ๋‚˜๋ˆŒ ์ˆ˜ ์žˆ์Šต๋‹ˆ๋‹ค.
01:39
We're free to choose where we make the fold.
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์šฐ๋ฆฌ๊ฐ€ ์–ด๋Š ๊ณณ์„ ์ ‘์„ ์ง€๋Š” ์ž์œ ์ž…๋‹ˆ๋‹ค.
01:42
And by doing so, we can differentiate the surfaces.
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๊ทธ๋ฆฌ๊ณ  ์ด๋Ÿฌํ•œ ๊ณผ์ •์„ ํ†ตํ•ด ํ‰๋ฉด์„ ๋ถ„ํ™” ์‹œํ‚ฌ ์ˆ˜ ์žˆ์Šต๋‹ˆ๋‹ค.
01:47
Through this very simple process,
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์ด๋Ÿฐ ๊ฐ„๋‹จํ•œ ๊ณผ์ •์„ ํ†ตํ•ด
01:48
we can create an astounding variety of forms.
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์šฐ๋ฆฌ๋Š” ์•„์ฃผ ๋†€๋ž„๋งŒํผ ๋‹ค์–‘ํ•œ ๋ชจ์–‘์„ ๋งŒ๋“ค์–ด ๋‚ผ ์ˆ˜ ์žˆ์Šต๋‹ˆ๋‹ค.
01:52
Now, we can take this form and use the same process
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์ด์ œ ์—ฌ๊ธฐ ์ด๋Ÿฐ ๋ชจ์–‘์„ ๊ฐ€์ง€๊ณ , ๋˜‘๊ฐ™์€ ๊ณผ์ •์„ ๊ฑฐ์ณ
01:55
to generate three-dimensional structures,
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์‚ผ์ฐจ์› ๊ตฌ์กฐ๋ฅผ ๋งŒ๋“ค ์ˆ˜ ์žˆ์Šต๋‹ˆ๋‹ค
01:57
but rather than folding things by hand,
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๊ทธ๋Ÿฌ๋‚˜ ์†์œผ๋กœ ์ ‘๋Š”๊ฒƒ ๋ณด๋‹ค๋Š”
01:59
we'll bring the structure into the computer,
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์ปดํ“จํ„ฐ๋กœ ์ด ๊ตฌ์กฐ๋ฌผ์„ ๊ฐ€์ ธ์™€
02:02
and code it as an algorithm.
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์•Œ๊ณ ๋ฆฌ์ฆ˜์œผ๋กœ ์ฝ”๋”ฉ(ํ”„๋กœ๊ทธ๋žจ)ํ•  ๊ฒƒ์ž…๋‹ˆ๋‹ค.
02:05
And in doing so, we can suddenly fold anything.
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์šฐ๋ฆฌ๋Š” ์ด์ œ ์–ด๋–ค ๊ฒƒ์ด๋“  ์ ‘์„ ์ˆ˜ ์žˆ์Šต๋‹ˆ๋‹ค.
02:08
We can fold a million times faster,
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์šฐ๋ฆฌ๋Š” ๋ช‡ ๋ฐฑ๋งŒ๋ฐฐ ๋นจ๋ฆฌ ์ ‘์„ ์ˆ˜ ์žˆ์œผ๋ฉฐ
02:10
we can fold in hundreds and hundreds of variations.
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์ˆ˜ ๋ฐฑ๊ฐœ์˜ ๋ณ€ํ˜•๋„ ๋งŒ๋“ค ์ˆ˜ ์žˆ์Šต๋‹ˆ๋‹ค.
02:13
And as we're seeking to make something three-dimensional,
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์šฐ๋ฆฌ๊ฐ€ 3์ฐจ์› ๊ตฌ์กฐ๋ฌผ์„ ๋งŒ๋“ค ๊ฒƒ์ด๋ฏ€๋กœ
02:16
we start not with a single surface, but with a volume.
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ํ‰๋ฉด๋ณด๋‹ค๋Š” ์ž…์ฒด๋กœ ์‹œ์ž‘ํ•˜๊ฒ ์Šต๋‹ˆ๋‹ค.
02:19
A simple volume, the cube.
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๊ฐ„๋‹จํ•œ ๊ตฌ์กฐ๋ฌผ, ํ๋ธŒ(6๊ฐํ˜•)์ž…๋‹ˆ๋‹ค.
02:20
If we take its surfaces and fold them
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์šฐ๋ฆฌ๊ฐ€ ์ด๊ฒƒ์˜ ํ‘œ๋ฉด์„ ์ ‘์–ด๋ณด์ฃ 
02:22
again and again and again and again,
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์ ‘๊ณ  ์ ‘๊ณ  ์ ‘์–ด์„œ
02:24
then after 16 iterations, 16 steps,
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16๋ฒˆ ๋ฐ˜๋ณตํ•˜๋ฉด,
02:27
we end up with 400,000 surfaces and a shape that looks,
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์šฐ๋ฆฌ๋Š” 400,000๊ฐœ์˜ ํ‰๋ฉด์„ ๊ฐ€์ง„
02:31
for instance, like this.
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์˜ˆ๋ฅผ ๋“ค์–ด, ์ด๋ ‡๊ฒŒ ์ƒ๊ธด ๊ตฌ์กฐ๋ฌผ์„ ์–ป๊ฒŒ ๋ฉ๋‹ˆ๋‹ค.
02:33
And if we change where we make the folds,
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๊ทธ๋ฆฌ๊ณ  ์šฐ๋ฆฌ๊ฐ€ ์ ‘๋Š” ๊ณณ์„ ์ž˜๋ฆฌ ์žก๊ฑฐ๋‚˜
02:36
if we change the folding ratio,
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์ ‘๋Š” ๋น„์œจ์„ ๋‹ค๋ฅด๊ฒŒ ํ•˜๋ฉด,
02:37
then this cube turns into this one.
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ํ๋ธŒ(6๊ฐํ˜•)๋Š” ์ด๋ ‡๊ฒŒ ๋ณ€ํ•˜๊ฒŒ ๋ฉ๋‹ˆ๋‹ค.
02:41
We can change the folding ratio again to produce this shape,
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๋˜ ๋‹ค์‹œ ์ ‘๋Š” ๋น„์œจ์„ ๋ฐ”๊ฟ” ์ด๋Ÿฐ ๋ชจ์–‘์„ ๋งŒ๋“ค ์ˆ˜๋„ ์žˆ์Šต๋‹ˆ๋‹ค.
02:45
or this shape.
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์ด๋Ÿฐ ๋ชจ์–‘์„ ๋งŒ๋“ค ์ˆ˜๋„ ์žˆ์Šต๋‹ˆ๋‹ค.
02:47
So we exert control over the form
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๋”ฐ๋ผ์„œ ์šฐ๋ฆฌ๋Š” ์ ‘๋Š” ๊ณณ์„ ๋‹ค๋ฅด๊ฒŒ ํ•จ์œผ๋กœ์จ
02:49
by specifying the position of where we're making the fold,
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๋ชจ์–‘์„ ํ†ต์ œํ•  ์ˆ˜ ์žˆ์Šต๋‹ˆ๋‹ค.
02:52
but essentially you're looking at a folded cube.
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๊ทธ๋Ÿฌ๋‚˜, ๊ธฐ๋ณธ์ ์œผ๋กœ ์šฐ๋ฆฌ๊ฐ€ ๋ณด๊ณ  ์žˆ๋Š” ๊ฒƒ์€ ์ ‘ํžŒ ํ๋ธŒ(6๊ฐํ˜•)์ž…๋‹ˆ๋‹ค.
02:57
And we can play with this.
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๊ทธ๋ฆฌ๊ณ  ์šฐ๋ฆฌ๋Š” ์ด๊ฒƒ์„ ๊ฐ€์ง€๊ณ  ๋†€ ์ˆ˜ ์žˆ์Šต๋‹ˆ๋‹ค.
02:58
We can apply different folding ratios to different parts
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๊ฐ ๋ถ€๋ถ„๋งˆ๋‹ค ์ ‘๋Š” ๋น„์œจ์„ ๋‹ค๋ฅด๊ฒŒ ํ•˜์—ฌ
03:00
of the form to create local conditions.
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๊ทธ ๋ถ€๋ถ„๋งˆ๋‹ค ๋‹ค๋ฅธ ์กฐ๊ฑด์„ ๋งŒ๋“ค์–ด ๋‚ผ ์ˆ˜ ์žˆ์Šต๋‹ˆ๋‹ค.
03:03
We can begin to sculpt the form.
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์šฐ๋ฆฌ๋Š” ํ˜•ํƒœ๋ฅผ ๋งŒ๋“ค๊ธฐ ์‹œ์ž‘ํ•  ์ˆ˜ ์žˆ์Šต๋‹ˆ๋‹ค.
03:05
And because we're doing the folding on the computer,
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๊ทธ๋ฆฌ๊ณ  ์šฐ๋ฆฌ๋Š” ์ปดํ“จํ„ฐ์ƒ์—์„œ ์ ‘์œผ๋ฏ€๋กœ
03:08
we are completely free of any physical constraints.
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์–ด๋– ํ•œ ๋ฌผ๋ฆฌ์  ์ œ์•ฝ์œผ๋กœ๋ถ€ํ„ฐ๋„ ์ž์œ ๋กญ์Šต๋‹ˆ๋‹ค.
03:12
So that means that surfaces can intersect themselves,
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๊ทธ๊ฒƒ์€ ํ‰๋ฉด๋“ค์ด ์„œ๋กœ ๊ต์ฐจํ•  ์ˆ˜ ์žˆ์œผ๋ฉฐ
03:15
they can become impossibly small.
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๋ถˆ๊ฐ€๋Šฅํ•  ์ •๋„๋กœ ์ž‘์•„์งˆ ์ˆ˜ ์žˆ๊ณ 
03:16
We can make folds that we otherwise could not make.
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์ปดํ“จํ„ฐ๊ฐ€ ์•„๋‹ˆ๋ฉด ๋งŒ๋“ค ์ˆ˜ ์—†๋Š” ๋ชจ์–‘๋„ ๋งŒ๋“ค ์ˆ˜ ์žˆ์Šต๋‹ˆ๋‹ค.
03:20
Surfaces can become porous.
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ํ‘œ๋ฉด์€ ๊ตฌ๋ฉ์ด ์ˆญ์ˆญ ๋šซ๋ ค์žˆ๋Š” ๋ชจ์–‘์ด ๋  ์ˆ˜๋„ ์žˆ๊ณ 
03:22
They can stretch. They can tear.
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๋Š˜์–ด์ ธ ์žˆ๊ฑฐ๋‚˜, ์ฐข์–ด์ง„ ๋ชจ์–‘์ด ๋  ์ˆ˜๋„ ์žˆ์Šต๋‹ˆ๋‹ค.
03:24
And all of this expounds the scope of forms that we can produce.
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๊ทธ๋ฆฌ๊ณ  ์ด๋Ÿฌํ•œ ๋ชจ๋“  ๊ฒƒ๋“ค์ด ์šฐ๋ฆฌ๊ฐ€ ๋งŒ๋“ค ์ˆ˜ ์žˆ๋Š” ์•„์ฃผ ๋‹ค์–‘ํ•œ ๋ฒ”์œ„์˜ ํ˜•ํƒœ๋“ค์— ๋Œ€ํ•œ ์„ค๋ช…์„ ์ œ๊ณตํ•ฉ๋‹ˆ๋‹ค.
03:29
But in each case, I didn't design the form.
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๊ทธ๋Ÿฌ๋‚˜ ๊ฐ ๊ฒฝ์šฐ์— ๋Œ€ํ•ด, ์ €๋Š” ํ˜•ํƒœ๋ฅผ ๋””์ž์ธ ํ•˜์ง€๋Š” ์•Š์•˜์Šต๋‹ˆ๋‹ค.
03:32
I designed the process that generated the form.
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์ €๋Š” ํ˜•ํƒœ๋ฅผ ๋งŒ๋“œ๋Š” ๊ณผ์ •์„ ๋””์ž์ธ ํ–ˆ์Šต๋‹ˆ๋‹ค.
03:36
In general, if we make a small change to the folding ratio,
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๋Œ€๊ฒŒ ์ ‘๋Š” ๋น„์œจ์„ ์กฐ๊ธˆ ๋ฐ”๊พธ๋ฉด
03:41
which is what you're seeing here,
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์—ฌ๊ธฐ ๋ณด์‹œ๋Š” ๊ฒƒ๊ณผ ๊ฐ™์ด,
03:42
then the form changes correspondingly.
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ํ˜•ํƒœ๋„ ๋”ฐ๋ผ์„œ ๋ฐ”๋€Œ๊ฒŒ ํ•ฉ๋‹ˆ๋‹ค.
03:46
But that's only half of the story --
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๊ทธ๋Ÿฌ๋‚˜ ์ด๊ฒƒ์€ ์ด์•ผ๊ธฐ์˜ ๋ฐ˜๋ฐ–์— ๋˜์ง€ ์•Š์Šต๋‹ˆ๋‹ค.
03:48
99.9 percent of the folding ratios produce not this,
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์ ‘๋Š” ๋น„์œจ์„ 99.9%๋งŒ ์œ ์ง€ํ•˜๋ฉด ์ด๋Ÿฐ ๊ฒƒ์ด ์•„๋‹Œ,
03:53
but this, the geometric equivalent of noise.
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๋ฐ”๋กœ ์ด๋Ÿฐ ๊ฒƒ์„ ๋งŒ๋“ค์–ด๋ƒ…๋‹ˆ๋‹ค. ์žก์Œ์— ํ•ด๋‹นํ•˜๋Š” ๊ธฐํ•˜ํ•™์  ๋ณ€ํ˜•์ž…๋‹ˆ๋‹ค..
03:58
The forms that I showed before were made actually
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์ „์— ๋ณด์—ฌ๋“œ๋ฆฐ ํ˜•ํƒœ๋“ค์€ ์‚ฌ์‹ค
04:00
through very long trial and error.
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์•„์ฃผ ๋งŽ์€ ์‹œํ–‰์ฐฉ์˜ค๋ฅผ ๊ฑฐ์ณ ๋งŒ๋“ค์–ด์ง„ ๊ฒƒ์ž…๋‹ˆ๋‹ค.
04:01
A far more effective way to create forms, I have found,
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ํ˜•ํƒœ๋ฅผ ๋งŒ๋“œ๋Š” ๋” ํšจ์œจ์ ์ธ ๋ฐฉ๋ฒ•์€, ์ œ๊ฐ€ ์ฐพ๊ธฐ๋ก 
04:05
is to use information that is already contained in forms.
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ํ˜•ํƒœ์•ˆ์— ์ด๋ฏธ ๋‹ด๊ฒจ์žˆ๋Š” ์ •๋ณด๋ฅผ ์ด์šฉํ•˜๋Š” ๊ฒƒ์ž…๋‹ˆ๋‹ค.
04:09
A very simple form such as this one actually contains
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์ด๋ ‡๊ฒŒ ๊ฐ„๋‹จํ•œ ํ˜•ํƒœ๋Š” ์‚ฌ์‹ค ์ธ๊ฐ„์˜ ๋ˆˆ์—๋Š” ๋ณด์ด์ง€ ์•Š์„ ์ˆ˜๋„ ์žˆ๋Š”
04:11
a lot of information that may not be visible to the human eye.
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์•„์ฃผ ๋งŽ์€ ์ •๋ณด๋ฅผ ํ•จ์ถ•ํ•˜๊ณ  ์žˆ์Šต๋‹ˆ๋‹ค.
04:15
So, for instance, we can plot the length of the edges.
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๊ทธ๋ž˜์„œ, ์˜ˆ๋ฅผ ๋“ค๋ฉด, ๋ชจ์„œ๋ฆฌ์˜ ๊ธธ์ด๋ฅผ ํ‘œ์‹œํ•  ์ˆ˜ ์žˆ์Šต๋‹ˆ๋‹ค.
04:17
White surfaces have long edges, black ones have short ones.
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ํ•˜์–€ ํ‘œ๋ฉด์€ ๊ธด ๋ชจ์„œ๋ฆฌ๋ฅผ, ๊ฒ€์€ ํ‘œ๋ฉด์€ ์งง์€ ๋ชจ์„œ๋ฆฌ๋ฅผ ๊ฐ€์ง‘๋‹ˆ๋‹ค.
04:21
We can plot the planarity of the surfaces, their curvature,
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์šฐ๋ฆฌ๋Š” ํ‘œ๋ฉด์˜ ํ‰ํ‰ํ•œ ์ •๋„, ๊ตฝ์€ ์ •๋„, ๋ฐฉ์‚ฌ์„ฑ์˜ ์ •๋„๋ฅผ
04:24
how radial they are -- all information that may not be
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์ธก์ •ํ•ด ํ‘œ์‹œ ํ•  ์ˆ˜ ์žˆ์Šต๋‹ˆ๋‹ค.
04:28
instantly visible to you,
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๋ฌผ๋ก  ์ด๋Ÿฌํ•œ ์ •๋ณด๋“ค์ด ์—ฌ๋Ÿฌ๋ถ„์—๊ฒŒ๋Š” ์ž˜ ๋ณด์ด์ง€ ์•Š์„ ์ˆ˜๋„ ์žˆ์Šต๋‹ˆ๋‹ค.
04:30
but that we can bring out, that we can articulate,
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๊ทธ๋Ÿฌ๋‚˜ ์šฐ๋ฆฌ๋Š” ๊ทธ๊ฒƒ์„ ๋„์ง‘์–ด ๋‚ด์–ด ์„ ๋ช…ํ•˜๊ฒŒ ํ•˜๊ณ 
04:33
and that we can use to control the folding.
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์ ‘๋Š” ๊ฒƒ์„ ์กฐ์ ˆํ•˜๋Š”๋ฐ ์‚ฌ์šฉ ํ•  ์ˆ˜ ์žˆ์Šต๋‹ˆ๋‹ค.
04:36
So now I'm not specifying a single
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๊ทธ๋ž˜์„œ ์ €๋Š” ์ ‘๊ธฐ ์œ„ํ•ด์„œ
04:38
ratio anymore to fold it,
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ํ•˜๋‚˜์˜ ๋น„์œจ์„ ์ •ํ•ด์ฃผ๋Š” ๊ฒƒ์ด ์•„๋‹ˆ๋ผ
04:40
but instead I'm establishing a rule,
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ํ•œ ๊ทœ์น™์„ ์„ธ์›Œ์ค๋‹ˆ๋‹ค.
04:43
I'm establishing a link between a property of a surface
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์ €๋Š” ํ‘œ๋ฉด์˜ ์„ฑ์งˆ๊ณผ ์ ‘๋Š” ๋น„์œจ์„
04:45
and how that surface is folded.
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์—ฐ๊ณ„์‹œ์ผœ ์ฃผ๊ธฐ๋งŒ ํ•ฉ๋‹ˆ๋‹ค.
04:48
And because I've designed the process and not the form,
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๊ทธ๋ฆฌ๊ณ  ์ œ๊ฐ€ ํ˜•ํƒœ๊ฐ€ ์•„๋‹Œ ๊ณผ์ •์„ ๋””์ž์ธํ•˜์˜€์œผ๋ฏ€๋กœ
04:51
I can run the process again and again and again
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์ €๋Š” ์ด ๊ณผ์ •์„ ๋ช‡๋ฒˆ์ด๊ณ  ๊ณ„์† ๋ฐ˜๋ณตํ•˜์—ฌ
04:53
to produce a whole family of forms.
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์—ฐ๊ด€๋œ ๋ชจ๋“  ํ˜•ํƒœ๊ฐ€ ๋‚˜ํƒ€๋‚˜๋„๋ก ํ•  ์ˆ˜ ์žˆ์Šต๋‹ˆ๋‹ค.
05:08
These forms look elaborate, but the process is a very minimal one.
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์ด๋Ÿฌํ•œ ํ˜•ํƒœ๋“ค์€ ์ •๊ตํ•ด ๋ณด์ด์ง€๋งŒ ๊ณผ์ •์€ ์•„์ฃผ ๋‹จ์ˆœํ•ฉ๋‹ˆ๋‹ค
05:13
There is a simple input,
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๊ฐ„๋‹จํ•œ ์กฐ๊ฑด์˜ ์ž…๋ ฅ(input)๊ณผ,
05:14
it's always a cube that I start with,
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์ œ๊ฐ€ ํ•ญ์ƒ ์‹œ์ž‘ํ•˜๋Š” ํ๋ธŒ์ธ๋ฐ์š”,
05:16
and it's a very simple operation -- it's making a fold,
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๊ฐ„๋‹จํ•œ ์กฐ์ž‘์„ ํ†ตํ•ด
05:19
and doing this over and over again.
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๊ณ„์†ํ•ด์„œ ์ ‘์„ ์ˆ˜ ์žˆ์Šต๋‹ˆ๋‹ค.
05:23
So let's bring this process to architecture.
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์ด ๊ณผ์ •์„ ๊ฑด์ถ•์œผ๋กœ ๊ฐ€์ ธ์™€ ๋ณด์ฃ .
05:25
How? And at what scale?
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์–ด๋–ป๊ฒŒ? ์–ด๋–ค ๊ทœ๋ชจ๋กœ?
05:27
I chose to design a column.
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์ €๋Š” ๊ธฐ๋‘ฅ์„ ๋””์ž์ธ ํ•˜๊ธฐ๋กœ ๊ฒฐ์ •ํ•ฉ๋‹ˆ๋‹ค.
05:29
Columns are architectural archetypes.
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๊ธฐ๋‘ฅ์€ ๊ฑด์ถ•๋ฌผ์˜ ์ „ํ˜•์œผ๋กœ
05:32
They've been used throughout history to express ideals
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์—ญ์‚ฌ์†์—์„œ ์•„๋ฆ„๋‹ค์›€๊ณผ ๊ธฐ์ˆ ์— ๋Œ€ํ•œ ์ด์ƒ์„
05:35
about beauty, about technology.
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ํ‘œํ˜„ํ•˜๋Š”๋ฐ ์‚ฌ์šฉ๋˜์–ด ์™”์Šต๋‹ˆ๋‹ค.
05:40
A challenge to me was how we could express
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์ € ์ž์‹ ์—๊ฒŒ ๋„์ „์ด ๋˜์—ˆ๋˜ ์ ์€ ์–ด๋–ป๊ฒŒ ์šฐ๋ฆฌ๊ฐ€ ์ด๋Ÿฐ ์ƒˆ๋กœ์šด
05:42
this new algorithmic order in a column.
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์•Œ๊ณ ๋ฆฌ์ฆ˜์ ์ธ ์งˆ์„œ๋ฅผ ๊ธฐ๋‘ฅ์— ์ ์šฉ์‹œํ‚ฌ๊นŒ ํ•˜๋Š” ๊ฒƒ์ด์˜€์Šต๋‹ˆ๋‹ค.
05:46
I started using four cylinders.
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์ €๋Š” 4๊ฐœ์˜ ์›๊ธฐ๋‘ฅ์œผ๋กœ ์‹œ์ž‘ํ–ˆ์Šต๋‹ˆ๋‹ค.
05:49
Through a lot of experimentation, these cylinders
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๋งŽ์€ ์‹คํ—˜์„ ํ†ตํ•ด, ์ด๋Ÿฌํ•œ ์›๊ธฐ๋‘ฅ๋“ค์€
05:52
eventually evolved into this.
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์ด๋Ÿฌํ•œ ํ˜•ํƒœ๋กœ ์ง„ํ™”ํ•˜์˜€์Šต๋‹ˆ๋‹ค.
05:55
And these columns, they have information at very many scales.
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๊ทธ๋ฆฌ๊ณ  ์ด๋Ÿฌํ•œ ๊ธฐ๋‘ฅ๋“ค์€, ํฌ๊ณ  ์ž‘์€ ๊ทœ๋ชจ์˜ ์ •๋ณด๋“ค์„ ๋‹ด๊ณ  ์žˆ์Šต๋‹ˆ๋‹ค.
06:00
We can begin to zoom into them.
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์šฐ๋ฆฌ๋Š” ๊ฐ€๊นŒ์ด ํ™•๋Œ€์‹œ์ผœ, ๋” ์ž์„ธํžˆ ๊ด€์ฐฐ ํ•  ์ˆ˜ ์žˆ์Šต๋‹ˆ๋‹ค
06:03
The closer one gets, the more new features one discovers.
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๋” ๊ฐ€๊นŒ์ด ๊ฐˆ์ˆ˜๋ก ์ƒˆ๋กœ์šด ๋ฉด๋“ค์„ ๋ฐœ๊ฒฌํ•˜๊ฒŒ ๋ฉ๋‹ˆ๋‹ค.
06:06
Some formations are almost at the threshold of human visibility.
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์–ด๋–ค ํ˜•ํƒœ๋“ค์€ ์ธ๊ฐ„์˜ ๋ˆˆ์— ๊ฒจ์šฐ ๋ณด์ผ ๋งŒํผ์˜ ํฌ๊ธฐ๋ฅผ ๊ฐ€์ง€๊ณ  ์žˆ์Šต๋‹ˆ๋‹ค.
06:10
And unlike traditional architecture,
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๊ทธ๋ฆฌ๊ณ  ์ „ํ†ต์ ์ธ ๊ฑด์ถ•๊ณผ๋Š” ๋‹ฌ๋ฆฌ,
06:12
it's a single process that creates both the overall form
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๋‹จ ํ•˜๋‚˜์˜ ๊ณผ์ •์œผ๋กœ ์ „์ฒด์ ์ธ ํ˜•ํƒœ์™€
06:15
and the microscopic surface detail.
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๋ฏธ์‹œ์ ์ธ ํ‘œ๋ฉด ๋””ํ…Œ์ผ์„ ๋™์‹œ์— ๊ฒฐ์ •ํ•ฉ๋‹ˆ๋‹ค.
06:20
These forms are undrawable.
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์ด๋Ÿฌํ•œ ํ˜•ํƒœ๋“ค์€ ๊ทธ๋ฆด ์ˆ˜ ์—†์Šต๋‹ˆ๋‹ค.
06:23
An architect who's drawing them with a pen and a paper
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๊ฑด์ถ•๊ฐ€๊ฐ€ ํŽœ๊ณผ ์ข…์ด๋ฅผ ๊ฐ€์ง€๊ณ  ์ด๊ฒƒ๋“ค์„ ๊ทธ๋ฆฐ๋‹ค๋ฉด,
06:26
would probably take months,
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๋†’์ด๋ฅผ ๋‹ฌ๋ฆฌํ•˜์—ฌ ๋ชจ๋“  ๋ถ€๋ถ„๊ณผ ์ž…๋ฉด๋„๋ฅผ ๊ทธ๋ฆฌ๋Š”๋ฐ,
06:28
or it would take even a year to draw all the sections,
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๋ช‡ ๋‹ฌ์—์„œ ์–ด์ฉŒ๋ฉด ์ผ๋…„์ฏค ์‹œ๊ฐ„์ด ๊ฑธ๋ฆฌ๊ฒ ์ง€๋งŒ,
06:30
all of the elevations, you can only create something like this
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์—ฌ๋Ÿฌ๋ถ„๋“ค์€ ์•Œ๊ณ ๋ฆฌ์ฆ˜๋งŒ์„ ์ด์šฉํ•˜์—ฌ
06:32
through an algorithm.
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์ด๋Ÿฐ ๊ฒƒ๋“ค์„ ๋งŒ๋“ค์–ด ๋‚ผ ์ˆ˜ ์žˆ์Šต๋‹ˆ๋‹ค.
06:35
The more interesting question, perhaps, is,
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๋” ํฅ๋ฏธ๋กœ์šด ์งˆ๋ฌธ์€, ์•„๋งˆ,
06:37
are these forms imaginable?
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์ด๋Ÿฐ ํ˜•ํƒœ๋“ค์ด ์ƒ์ƒ๊ฐ€๋Šฅํ•œ ๊ฒƒ์ผ๊นŒ? ์ผ ๊ฒƒ์ž…๋‹ˆ๋‹ค.
06:39
Usually, an architect can somehow envision the end state
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๋ณดํ†ต ๊ฑด์ถ•๊ฐ€๋Š” ๊ทธ๊ฐ€ ๋””์ž์ธํ•˜๊ณ  ์žˆ๋Š” ๊ฒƒ์˜
06:42
of what he is designing.
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๋งˆ์ง€๋ง‰ ์ƒํƒœ๋ฅผ ๋จธ๋ฆฟ์†์œผ๋กœ ๊ทธ๋ฆด ์ˆ˜ ์žˆ์Šต๋‹ˆ๋‹ค.
06:44
In this case, the process is deterministic.
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์ด๋Ÿฐ ๊ฒฝ์šฐ, ๊ณผ์ •์€ ๊ฒฐ์ •๋ก ์ ์ž…๋‹ˆ๋‹ค.
06:47
There's no randomness involved at all,
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์šฐ์—ฐ์„ฑ์˜ ๊ฐœ์ž…์ด๋ž€ ์ „ํ˜€ ์—†์Šต๋‹ˆ๋‹ค.
06:49
but it's not entirely predictable.
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๊ทธ๋Ÿฌ๋‚˜ ์™„๋ฒฝํžˆ ์˜ˆ์ธก ๊ฐ€๋Šฅํ•œ ๊ฒƒ๋„ ์•„๋‹™๋‹ˆ๋‹ค.
06:51
There's too many surfaces,
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ํ‘œ๋ฉด์ด ๋„ˆ๋ฌด ๋งŽ๊ณ 
06:52
there's too much detail, one can't see the end state.
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๋””ํ…Œ์ผ์ด ๋„ˆ๋ฌด ๋งŽ์•„ ๋งˆ์ง€๋ง‰ ์ƒํƒœ๋ฅผ ์˜ˆ์ธกํ•˜๊ธฐ ํž˜๋“ญ๋‹ˆ๋‹ค.
06:56
So this leads to a new role for the architect.
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๋”ฐ๋ผ์„œ ์ด๊ฒƒ์ด ๊ฑด์ถ•๊ฐ€์˜ ์ƒˆ๋กœ์šด ์—ญํ• ์„ ์ œ์‹œํ•ฉ๋‹ˆ๋‹ค.
06:59
One needs a new method to explore all of the possibilities
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๋ชจ๋“  ๊ฐ€๋Šฅ์„ฑ์„ ํƒ๊ตฌํ•  ์ˆ˜ ์žˆ๋Š”
07:03
that are out there.
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์ƒˆ๋กœ์šด ๋ฐฉ๋ฒ•์ด ํ•„์š”ํ•ฉ๋‹ˆ๋‹ค.
07:05
For one thing, one can design many variants of a form,
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ํ•˜๋‚˜๋Š”, ํ•œ๊ฐ€์ง€ ํ˜•ํƒœ์˜ ๋‹ค์–‘ํ•œ ๋ณ€ํ˜•์„ ๋””์ž์ธํ•ด ๋ณผ ์ˆ˜ ์žˆ์Šต๋‹ˆ๋‹ค.
07:08
in parallel, and one can cultivate them.
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์œ ์‚ฌํ•˜๊ฒŒ, ํ˜•ํƒœ๋“ค์„ ๊ตฌ์ถ•ํ•ด ๋‚˜๊ฐˆ ์ˆ˜๋„ ์žˆ์Šต๋‹ˆ๋‹ค.
07:10
And to go back to the analogy with nature,
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๊ทธ๋ฆฌ๊ณ , ์ž์—ฐ๊ณผ ์œ ์‚ฌํ•˜๊ฒŒ
07:12
one can begin to think in terms of populations,
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์ธ๊ตฌ์ˆ˜์™€ ๊ด€๋ จ์ง€์–ด ์ƒ๊ฐํ•˜๊ฑฐ๋‚˜,
07:15
one can talk about permutations, about generations,
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์ˆ˜์˜ ์กฐํ•ฉ์— ๋Œ€ํ•ด ์ด์•ผ๊ธฐํ•˜๊ฑฐ๋‚˜, ์„ธ๋Œ€์— ๊ด€ํ•œ,
07:18
about crossing and breeding to come up with a design.
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๋˜๋Š” ๊ต๋ฐฐ์™€ ์ƒ์‹์— ๊ด€ํ•œ ์ด์•ผ๊ธฐ๋กœ ์‹œ์ž‘ํ•˜์—ฌ ๋””์ž์ธ์„ ๋งŒ๋“ค์–ด๋‚ผ ์ˆ˜ ์žˆ์Šต๋‹ˆ๋‹ค.
07:23
And the architect is really, he moves into the position
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๊ทธ๋ฆฌ๊ณ  ๊ฑด์ถ•๊ฐ€๋Š” ์ด๋Ÿฌํ•œ ๊ณผ์ •๋“ค์—์„œ
07:26
of being an orchestrator of all of these processes.
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์˜ค์ผ€์ŠคํŠธ๋ผ์˜ ์ž‘๊ณก์ž๊ฐ€ ๋˜๋Š” ๊ฒƒ์ž…๋‹ˆ๋‹ค.
07:29
But enough of the theory.
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์ด๋ก ์€ ์ด์ œ ๊ทธ๋งŒ ํ•˜์ฃ .
07:31
At one point I simply wanted to jump inside
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์–ด๋Š ์ˆœ๊ฐ„์—”๊ฐ€, ์ €๋Š” ์ด ์ด๋ฏธ์ง€ ์†์œผ๋กœ
07:34
this image, so to say, I bought these red and blue
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๋“ค์–ด๊ฐ€ ๋ณด๊ณ  ์‹ถ์–ด์กŒ์Šต๋‹ˆ๋‹ค. ์ œ๊ฐ€ ์ด ๋นจ๊ฐ• ํŒŒ๋ž‘ 3D์•ˆ๊ฒฝ์„ ์ƒ€๋‹ค๊ณ  ํ•ด๋ณด์ฃ .
07:38
3D glasses, got up very close to the screen,
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์Šคํฌ๋ฆฐ์— ์•„์ฃผ ๊ฐ€๊นŒ์ด ๋‹ค๊ฐ€๊ฐ€์ง€๋งŒ
07:41
but still that wasn't the same as being able to
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๊ทธ๋ž˜๋„ ์—ฐ์ „ํžˆ ๋Œ์•„๋‹ค๋‹ˆ๋ฉฐ ์ง์ ‘ ๋งŒ์ง€๋Š” ๊ฒƒ๊ณผ๋Š”
07:43
walk around and touch things.
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๋‹ฌ๋ž์Šต๋‹ˆ๋‹ค.
07:45
So there was only one possibility --
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ํ•œ๊ฐ€์ง€ ๋ฐฉ๋ฒ•๋ฐ–์—๋Š” ์—†์—ˆ์Šต๋‹ˆ๋‹ค.
07:47
to bring the column out of the computer.
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์ € ๊ธฐ๋‘ฅ๋“ค์€ ์ปดํ“จํ„ฐ ๋ฐ–์œผ๋กœ ๋ถˆ๋Ÿฌ๋‚ด๋Š”๊ฑฐ์ฃ .
07:50
There's been a lot of talk now about 3D printing.
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3D ์ธ์‡„์— ๊ด€ํ•ด ๋งŽ์€ ์ด์•ผ๊ธฐ๋“ค์ด ์˜ค๊ฐ€๊ณ  ์žˆ์Šต๋‹ˆ๋‹ค.
07:53
For me, or for my purpose at this moment,
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์ €๋Š”, ์ง€๊ธˆ ์ €์˜ ๋ชฉ์ ๊ณผ ๊ด€๋ จํ•˜์—ฌ,
07:56
there's still too much of an unfavorable tradeoff
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์—ฌ์ „ํžˆ, ์ œ๊ฐ€ ์ข‹์•„ํ•˜์ง€ ์•Š๋Š”๋ฐ ํƒ€ํ˜‘ํ•ด์•ผ ํ•˜๋Š” ๊ฒƒ์ด ๋„ˆ๋ฌด ๋งŽ์•˜์Šต๋‹ˆ๋‹ค.
07:59
between scale, on the one hand, and resolution and speed, on the other.
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ํ•œํŽธ์œผ๋กœ๋Š” ๊ทœ๋ชจ์™€, ๋‹ค๋ฅธ ํ•œํŽธ์œผ๋กœ๋Š” ํ•ด์ƒ๋„์™€ ์†๋„ ์‚ฌ์ด์˜ ๋ฌธ์ œ์˜€์Šต๋‹ˆ๋‹ค.
08:06
So instead, we decided to take the column,
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๋Œ€์‹ , ์šฐ๋ฆฌ๋Š” ์ด ๊ธฐ๋‘ฅ๋“ค์„ ์ธต์ธตํžˆ ์Œ“์€ ๋ชจ๋ธ๋กœ
08:08
and we decided to build it as a layered model,
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๋งŒ๋“ค๊ธฐ๋กœ ํ•˜์˜€์Šต๋‹ˆ๋‹ค.
08:11
made out of very many slices, thinly stacked over each other.
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์ฆ‰, ๋งŽ์€ ์กฐ๊ฐ๋“ค์ด ์ธต์ธตํžˆ ์–‡๊ฒŒ ์Œ“์—ฌ์žˆ๋Š” ๋ชจ์–‘์œผ๋กœ ๋งŒ๋“ค๊ธฐ๋กœ ํ•˜์˜€์Šต๋‹ˆ๋‹ค.
08:15
What you're looking at here is an X-ray
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์—ฌ๊ธฐ ์—ฌ๋Ÿฌ๋ถ„๋“ค์ด ๋ณด์‹œ๋Š” X-๋ ˆ์ด๋Š”
08:17
of the column that you just saw, viewed from the top.
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๋ฐฉ๊ธˆ ๋ณด์…จ๋˜ ๊ธฐ๋‘ฅ์„ ์œ„์ชฝ ๋ฐฉํ–ฅ์—์„œ ์ฐ์€ ๊ฒƒ์ž…๋‹ˆ๋‹ค.
08:19
Unbeknownst to me at the time,
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๊ทธ ๋•Œ์˜ ์ € ๋ชฐ๋ž์Šต๋‹ˆ๋‹ค.
08:21
because we had only seen the outside,
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์™œ๋ƒํ•˜๋ฉด ์šฐ๋ฆฌ๋Š” ๋ฐ–์—์„œ๋งŒ ๋ด ์™”๊ธฐ ๋•Œ๋ฌธ์ด์ฃ .
08:24
the surfaces were continuing to fold themselves,
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ํ‘œ๋ฉด๋“ค์€ ๊ธฐ๋‘ฅ์˜ ์•ˆ์ชฝ์—์„œ๋„
08:26
to grow on the inside of the column,
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์ ‘์–ด์ง€๊ธฐ๋ฅผ ๋ฐ˜๋ณตํ•˜๊ณ  ์žˆ์—ˆ์Šต๋‹ˆ๋‹ค.
08:28
which was quite a surprising discovery.
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๊ฝค ๋†€๋ผ์šด ๋ฐœ๊ฒฌ์ด์˜€์ฃ .
08:31
From this shape, we calculated a cutting line,
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์ด ๋ชจ์–‘์„ ๋ฐ”ํƒ•์œผ๋กœ ์šฐ๋ฆฌ๋Š” ์ ˆ๊ฐœ์„ ์„ ๊ณ„์‚ฐํ•ด
08:34
and then we gave this cutting line to a laser cutter
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๋ ˆ์ด์ € ์ ˆ๊ฐœ๊ธฐ๊ฐ€ ์ž๋ฅผ ์ˆ˜ ์žˆ๋„๋ก ์ ˆ๊ฐœ์„ ์„ ์ œ๊ณตํ•ด ์ฃผ์—ˆ์Šต๋‹ˆ๋‹ค.
08:37
to produce -- and you're seeing a segment of it here --
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์ง€๊ธˆ ๊ทธ ์ผ๋ถ€๋ถ„์„ ๋ณด๊ณ  ๊ณ„์‹ญ๋‹ˆ๋‹ค.
08:41
very many thin slices, individually cut, on top of each other.
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ํ•˜๋‚˜์”ฉ ์–‡๊ฒŒ, ์•„์ฃผ ๋งŽ์€ ์กฐ๊ฐ์œผ๋กœ ์ž๋ฅธ ๋‹ค์Œ, ๋‹ค์‹œ ์ธต์ธต์ด ์Œ“์€ ๋ชจ์Šต์ž…๋‹ˆ๋‹ค.
08:48
And this is a photo now, it's not a rendering,
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๊ทธ๋ฆฌ๊ณ  ์ด๊ฒƒ์€ ์ง„์งœ ์‚ฌ์ง„์ž…๋‹ˆ๋‹ค. ๊ทธ๋ฆฐ ๊ฒƒ์ด ์•„๋‹™๋‹ˆ๋‹ค.
08:51
and the column that we ended up with
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๊ทธ๋ฆฌ๊ณ  ์šฐ๋ฆฌ๊ฐ€ ๊ทธํ† ๋ก ๊ณต์„๋“ค์—ฌ ๋งŒ๋“  ๊ธฐ๋‘ฅ์€
08:53
after a lot of work, ended up looking remarkably like the one
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์ปดํ“จํ„ฐ์—์„œ ๋””์ž์ธํ–ˆ๋˜ ๊ทธ ๋ชจ์Šต๊ณผ
08:56
that we had designed in the computer.
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์•„์ฃผ ์œ ์‚ฌํ•ฉ๋‹ˆ๋‹ค.
09:00
Almost all of the details, almost all of the
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๊ฑฐ์˜ ๋ชจ๋“  ๋””ํ…Œ์ผ๊ณผ
09:02
surface intricacies were preserved.
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๋ณต์žกํ•˜๊ฒŒ ์–ฝํžŒ ๊ฑฐ์˜ ๋ชจ๋“  ํ‘œ๋ฉด์ด ๋ณด์กด๋˜์–ด ์žˆ์Šต๋‹ˆ๋‹ค.
09:07
But it was very labor intensive.
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๊ทธ๋Ÿฌ๋‚˜ ์ด๊ฒƒ์€ ๋งค์šฐ ๋…ธ๋™ ์ง‘์•ฝ์ ์ด์˜€์Šต๋‹ˆ๋‹ค.
09:10
There's a huge disconnect at the moment still
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์—ฌ๊ธฐ์—๋Š” ์•„์ง ๊ฐ€์ƒ์˜ ๊ฒƒ๊ณผ ์‹ค์ œ์˜ ๊ฒƒ ์‚ฌ์ด์—
09:12
between the virtual and the physical.
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ํฐ ๋‹จ์ ˆ์ด ์žˆ์Šต๋‹ˆ๋‹ค.
09:15
It took me several months to design the column,
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๊ธฐ๋‘ฅ์„ ๋””์ž์ธ ํ•˜๋Š”๋ฐ ์ €๋Š” ๋ช‡ ๊ฐœ์›”์ด ๊ฑธ๋ ธ์Šต๋‹ˆ๋‹ค.
09:17
but ultimately it takes the computer about 30 seconds
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๊ทธ๋Ÿฌ๋‚˜ ์ปดํ“จํ„ฐ๋Š” 160๋งŒ๊ฐœ์˜ ํ‘œ๋ฉด์„ ๊ณ„์‚ฐํ•˜๋Š”๋ฐ
09:20
to calculate all of the 16 million faces.
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30์ดˆ๋ฉด ์ถฉ๋ถ„ํ–ˆ์Šต๋‹ˆ๋‹ค.
09:23
The physical model, on the other hand,
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์‹ค์ œ์  ๋ชจ๋ธ์€, ๊ทธ๋Ÿฌ๋‚˜,
09:25
is 2,700 layers, one millimeter thick,
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2700๊ฐœ์˜ ์ธต์œผ๋กœ ์ด๋ฃจ์–ด์กŒ๊ณ , 1๋ฐ€๋ฆฌ๋ฏธํ„ฐ ๋‘๊ป˜๋ฅผ ๊ฐ€์ง€๋ฉฐ,
09:29
it weighs 700 kilos, it's made of sheet that can cover
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700kg์ด ๋‚˜๊ฐ€๋ฉฐ, ์ง€๊ธˆ ์ด ๊ฐ•๋‹น์„ ๋‹ค ๋ฎ์„ ๋งŒํผ์˜
09:33
this entire auditorium.
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์ข…์ด๋กœ ๋งŒ๋“ค์–ด์กŒ์Šต๋‹ˆ๋‹ค.
09:35
And the cutting path that the laser followed
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๊ทธ๋ฆฌ๊ณ  ๋ ˆ์ด์ €๊ฐ€ ๋”ฐ๋ผ๊ฐ„ ์ ˆ๊ฐœ์„ ์˜ ๊ธธ์ด๋Š”
09:37
goes from here to the airport and back again.
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์—ฌ๊ธฐ๋ถ€ํ„ฐ ๊ณตํ•ญ๊นŒ์ง€ ๊ฐ”๋‹ค ์˜ค๋Š” ๊ธธ์ด ์ž…๋‹ˆ๋‹ค.
09:42
But it is increasingly possible.
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๊ทธ๋Ÿฌ๋‚˜ ์ด๊ฒƒ์€ ์ ์  ๋” ๊ฐ€๋Šฅํ•ด์ ธ๊ฐ€๊ณ  ์žˆ์Šต๋‹ˆ๋‹ค.
09:44
Machines are getting faster, it's getting less expensive,
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๊ธฐ๊ณ„๋“ค์ด ์ ์  ๋นจ๋ผ์ง€๊ณ , ๊ฐ’ ์‹ธ์ง€๊ณ 
09:47
and there's some promising technological developments
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์—„์ฒญ๋‚œ ๊ธฐ์ˆ ์  ๋ฐœ์ „๋„
09:49
just on the horizon.
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๋ฐ”๋กœ ์ฝ” ์•ž์— ์žˆ์Šต๋‹ˆ๋‹ค.
09:51
These are images from the Gwangju Biennale.
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์ด๊ฒƒ์€ ๊ด‘์ฃผ ๋น„์—”๋‚ ๋ ˆ์˜ ์‚ฌ์ง„๋“ค ์ž…๋‹ˆ๋‹ค.
09:54
And in this case, I used ABS plastic to produce the columns,
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์—ฌ๊ธฐ์— ์ €๋Š” ABSํ”Œ๋ผ์Šคํ‹ฑ์„ ์‚ฌ์šฉํ•ด ๊ธฐ๋‘ฅ์„ ๋งŒ๋“ค์—ˆ์Šต๋‹ˆ๋‹ค.
09:58
we used the bigger, faster machine,
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์šฐ๋ฆฌ๋Š” ํฌ๊ณ  ๋น ๋ฅธ ๊ธฐ๊ณ„๋ฅผ ์‚ฌ์šฉํ–ˆ๊ณ 
10:00
and they have a steel core inside, so they're structural,
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๊ทธ๊ฒƒ์€ ๊ฐ•์ฒ  ์‹ฌ์ด ์•ˆ์— ์žˆ์–ด์„œ ๊ตฌ์กฐ์ ์ด๊ณ 
10:03
they can bear loads for once.
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ํ•œ๋ฒˆ์— ๋งŽ์€ ์ž‘์—…์„ ์ฒ˜๋ฆฌ ํ•  ์ˆ˜ ์žˆ์—ˆ์Šต๋‹ˆ๋‹ค.
10:06
Each column is effectively a hybrid of two columns.
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๊ฐ ๊ธฐ๋‘ฅ์€ ๋‘ ๊ธฐ๋‘ฅ๋“ค์˜ ํ•˜์ด๋ธŒ๋ฆฌ๋“œ(์žก์ข…)์ž…๋‹ˆ๋‹ค.
10:08
You can see a different column in the mirror,
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๊ฑฐ์šธ ์†์— ๋‹ค๋ฅธ ๊ธฐ๋‘ฅ๋“ค์„ ๋ณด์‹ค ์ˆ˜ ์žˆ์„ ๊ฒ๋‹ˆ๋‹ค.
10:11
if there's a mirror behind the column
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๊ธฐ๋‘ฅ ๋’ค์— ๊ฑฐ์šธ์ด ์žˆ์œผ๋ฉด
10:13
that creates a sort of an optical illusion.
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์ฐฉ์‹œํ˜„์ƒ ๋น„์ˆซํ•œ ๊ฒƒ์„ ์ผ์œผํ‚ต๋‹ˆ๋‹ค.
10:16
So where does this leave us?
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์ž ๊ทธ๋Ÿผ ์šฐ๋ฆฌ๊ฐ€ ์ง€๊ธˆ ์–ด๋””๊นŒ์ง€ ์™”๋ƒ๊ตฌ์š”?
10:18
I think this project gives us a glimpse of the unseen objects that await us
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์ €๋Š” ์ด ํ”„๋กœ์ ํŠธ๊ฐ€ ์šฐ๋ฆฌ๊ฐ€ ๊ธฐ๋‹ค๋ฆฌ๋Š”, ์•„์ง์€ ๋ณด์ง€ ๋ชปํ•œ ๋ฌผ์ฒด๋“ค์˜ ํ˜•ํƒœ๋ฅผ ํฌ๋ฏธํ•˜๊ฒŒ ๋‚˜๋งˆ ๋ณด์—ฌ์ค€๋‹ค๊ณ  ์ƒ๊ฐํ•ฉ๋‹ˆ๋‹ค.
10:22
if we as architects begin to think about designing not the object,
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๋งŒ์•ฝ ์šฐ๋ฆฌ ๊ฑด์ถ•๊ฐ€๋“ค์ด ๋ฌผ์ฒด ์ž์ฒด๋ฅผ ๋””์ž์ธํ•˜๋Š” ๊ฒƒ์ด ์•„๋‹Œ
10:26
but a process to generate objects.
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๋งŒ๋“œ๋Š” ๊ณผ์ •์„ ๋””์ž์ธํ•˜๊ธฐ ์‹œ์ž‘ํ•œ๋‹ค๋ฉด
10:30
I've shown one simple process that was inspired by nature;
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์ œ๊ฐ€ ์ž์—ฐ์—์„œ ์˜๊ฐ์„ ์–ป์€ ๊ฐ„๋‹จํ•œ ๊ณผ์ •์„ ํ•˜๋‚˜ ๋ณด์—ฌ๋“œ๋ฆฐ ๊ฒ๋‹ˆ๋‹ค;
10:33
there's countless other ones.
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์…€์ˆ˜์—†์ด ๋งŽ์€ ๋‹ค๋ฅธ ๊ณผ์ •๋“ค์ด ์กด์žฌํ•ฉ๋‹ˆ๋‹ค.
10:36
In short, we have no constraints.
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์š”์•ฝํ•˜๋ฉด, ์šฐ๋ฆฌ์—๊ฒŒ ์ œํ•œ์กฐ๊ฑด์ด๋ž€ ์—†์Šต๋‹ˆ๋‹ค.
10:39
Instead, we have processes in our hands right now
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๋Œ€์‹  ์šฐ๋ฆฌ ์†์— ๊ณผ์ •๋“ค์ด ์žˆ์Šต๋‹ˆ๋‹ค.
10:43
that allow us to create structures at all scales
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์šฐ๋ฆฌ๊ฐ€ ๊ฟˆ๊ฟ”๋ณด์ง€๋„ ๋ชปํ–ˆ๋˜ ๋ชจ๋“  ๊ทœ๋ชจ์˜ ๊ฑด์ถ•๋ฌผ๋“ค์„
10:47
that we couldn't even have dreamt up.
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๋งŒ๋“ค ์ˆ˜ ์žˆ๊ฒŒ ํ•ด ์ฃผ๋Š” ๊ณผ์ •๋“ค์ด ์žˆ์Šต๋‹ˆ๋‹ค.
10:51
And, if I may add, at one point we will build them.
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๊ทธ๋ฆฌ๊ณ , ํ•˜๋‚˜ ๋” ํ•œ๋‹ค๋ฉด, ์–ธ์  ๊ฐ€ ์šฐ๋ฆฌ๋Š” ๊ทธ๊ฒƒ๋“ค์„ ๋งŒ๋“ค ๊ฒƒ์ž…๋‹ˆ๋‹ค.
10:55
Thank you. (Applause)
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๊ฐ์‚ฌํ•ฉ๋‹ˆ๋‹ค.(๋ฐ•์ˆ˜)
์ด ์›น์‚ฌ์ดํŠธ ์ •๋ณด

์ด ์‚ฌ์ดํŠธ๋Š” ์˜์–ด ํ•™์Šต์— ์œ ์šฉํ•œ YouTube ๋™์˜์ƒ์„ ์†Œ๊ฐœํ•ฉ๋‹ˆ๋‹ค. ์ „ ์„ธ๊ณ„ ์ตœ๊ณ ์˜ ์„ ์ƒ๋‹˜๋“ค์ด ๊ฐ€๋ฅด์น˜๋Š” ์˜์–ด ์ˆ˜์—…์„ ๋ณด๊ฒŒ ๋  ๊ฒƒ์ž…๋‹ˆ๋‹ค. ๊ฐ ๋™์˜์ƒ ํŽ˜์ด์ง€์— ํ‘œ์‹œ๋˜๋Š” ์˜์–ด ์ž๋ง‰์„ ๋”๋ธ” ํด๋ฆญํ•˜๋ฉด ๊ทธ๊ณณ์—์„œ ๋™์˜์ƒ์ด ์žฌ์ƒ๋ฉ๋‹ˆ๋‹ค. ๋น„๋””์˜ค ์žฌ์ƒ์— ๋งž์ถฐ ์ž๋ง‰์ด ์Šคํฌ๋กค๋ฉ๋‹ˆ๋‹ค. ์˜๊ฒฌ์ด๋‚˜ ์š”์ฒญ์ด ์žˆ๋Š” ๊ฒฝ์šฐ ์ด ๋ฌธ์˜ ์–‘์‹์„ ์‚ฌ์šฉํ•˜์—ฌ ๋ฌธ์˜ํ•˜์‹ญ์‹œ์˜ค.

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