Ross Lovegrove: The power and beauty of organic design

110,550 views ใƒป 2007-01-16

TED


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

๋ฒˆ์—ญ: Hanna Son ๊ฒ€ํ† : InHyuk Song
00:25
My name is Lovegrove.
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์ €๋Š” Lovegrove์ž…๋‹ˆ๋‹ค. ์ €๋Š” ์•„ํ™‰์˜ Lovegrove๋“ค์„ ์••๋‹ˆ๋‹ค.
00:26
I only know nine Lovegroves, two of which are my parents.
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๊ทธ์ค‘ ๋‘˜์€ ์ €ํฌ ๋ถ€๋ชจ๋‹˜์ด๊ฒ ์ฃ .
00:30
They are first cousins, and you know what happens when, you know --
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๊ทธ๋“ค์ด ๊ฐ€์žฅ ๊ฐ€๊นŒ์šด ํ˜ˆ์—ฐ์ด๋ฉฐ ๊ทธ ๋‹น์‹œ, ๊ทธ ์ผ์ด ์ผ์–ด๋‚ฌ์ฃ . ์—ฌ๋Ÿฌ๋ถ„๋„ ์•„์‹ค๊ฒ๋‹ˆ๋‹ค..
00:34
(Laughter)
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00:35
So there's a terribly weird freaky side to me,
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๊ทธ ์ ์ด ๋‚˜์—๊ฒ ๋งค์šฐ ๋”์ฐํ•˜๊ฒŒ๋„ ๋ถˆ๊ฐ€์‚ฌ์ดํ•ฉ๋‹ˆ๋‹ค.
00:39
which I'm fighting with all the time.
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์ €๋Š” ํ•ญ์ƒ ์‹œ๊ฐ„๋“ค๊ณผ ์‹ธ์›Œ์š”. ๋…ธ๋ ฅํ•˜๋ฉฐ ํ•˜๋ฃจ๋ฅผ ๋ณด๋ƒ…๋‹ˆ๋‹ค.
00:41
So to try and get through today,
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00:44
I've kind of disciplined myself with an 18-minute talk.
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์ €๋Š” 18๋ถ„ ๋™์•ˆ ์ด์•ผ๊ธฐ ํ•  ์ •๋„๋กœ ๋‹จ๋ จ๋˜์–ด ์žˆ์–ด์š”.
00:47
I was hanging on to have a pee.
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00:48
I thought perhaps if I was hanging on long enough,
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์˜ค์คŒ๋„ ์ž˜ ์ฐธ๊ณ ์š”.
์•„๋งˆ๋„ ์–ด์ฉŒ๋ฉด, ๋‚ด๊ฐ€ ๊ธด ์‹œ๊ฐ„์„ ์ถฉ๋ถ„ํžˆ ์ฐธ๋Š”๊ฒŒ
00:51
that would guide me through the 18 minutes.
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์ด 18๋ถ„์„ ๊พธ๋ ค๋‚˜๊ฐ€๋Š”๋ฐ ์ข‹์€ ์‹ ํ˜ธํƒ„์ด ๋ ๊ฒ๋‹ˆ๋‹ค.
00:53
(Laughter)
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(์›ƒ์Œ)
00:55
OK. I am known as Captain Organic
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OK, ์ €๋Š” ์˜ค๊ฐ€๋‹‰ ์บกํ‹ด์œผ๋กœ ์•Œ๋ ค์ ธ ์žˆ๊ตฌ์š”
01:02
and that's a philosophical position as well as an aesthetic position.
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๊ทธ ์ž๋ฆฌ๋Š”, ๋งค์šฐ ์ฒ ํ•™์ ์ด๊ณ  ๋ฏธ์ ์ธ ์ž๋ฆฌ์ž…๋‹ˆ๋‹ค.
01:07
But today what I'd like to talk to you about is that love of form
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์˜ค๋Š˜ ์ œ๊ฐ€ ๋งํ•˜๊ณ ์ž ํ•˜๋Š” ๋ฐ”๋Š” ์‚ฌ๋ž‘์˜ ํ˜•์ƒ๊ณผ,
01:10
and how form can touch people's soul and emotion.
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์–ด๋–ป๊ฒŒ ๊ทธ ํ˜•์ƒ์ด ์‚ฌ๋žŒ๋“ค์˜ ์˜ํ˜ผ๊ณผ ๊ฐ์ •์‚ฌ์ด์—์„œ ๊ต๊ฐํ•˜๋Š๋ƒ ํ•˜๋Š” ๊ฒƒ์ž…๋‹ˆ๋‹ค.
01:16
Not very long ago, not many thousands of years ago,
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๊ทธ๋ฆฌ ์˜ค๋ž˜๋˜์ง€์•Š์€ ์˜› ์‹œ์ ˆ,
01:21
we actually lived in caves,
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์šฐ๋ฆฌ๋Š” ์‹ค์ œ๋กœ ๋™๊ตด์—์„œ ์‚ด์•˜์—ˆ์Šต๋‹ˆ๋‹ค.
01:23
and I don't think we've lost that coding system.
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๊ทธ๋ฆฌ๊ณ  ์ €๋Š” ์šฐ๋ฆฌ๊ฐ€ ์ง€๊ธˆ๋„ ๊ทธ๋•Œ์˜ ์•”ํ˜ธ ์ฒด๊ณ„๋ฅผ ๊ธฐ์–ตํ•œ๋‹ค๊ณ  ์ƒ๊ฐํ•ด์š”.
01:27
We respond so well to form.
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์šฐ๋ฆฌ๋Š” ๊ทธ ํ˜•์ƒ์— ๋Œ€ํ•ด ๋งค์šฐ ์ž˜ ๋ฐ˜์‘ํ•˜๊ธฐ ๋•Œ๋ฌธ์ด์ฃ .
01:31
But I'm interested in creating intelligent form.
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๊ทธ๋Ÿฌ๋‚˜ ์ €๋Š” ์ง€์ ์ธ ํ˜•ํƒœ๋ฅผ ๋งŒ๋“œ๋Š” ๊ฒƒ์— ํฅ๋ฏธ๊ฐ€ ์žˆ์Šต๋‹ˆ๋‹ค
01:33
I'm not interested at all in blobism
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์ €๋Š” ๋ชจ๋“  blobism(*์˜ค๊ฐ€๋‹‰ ํ˜•ํƒœ์˜ ๊ฑด์ถ•์„ ํ•˜๋Š” ์šด๋™) ์ด๋‚˜
01:35
or any of that superficial rubbish that you see coming out as design.
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์—ฌ๋Ÿฌ๋ถ„์ด ๋ณด๋Š” ๋””์ž์ธํ™” ๋œ ์–ด๋–ค ์ฒœ๋ฐ•ํ•œ ์žก๋™์‚ฌ๋‹ˆ๋“ค์„ ์ฆ๊ธฐ์ง„ ์•Š์Šต๋‹ˆ๋‹ค.
01:39
This artificially induced consumerism -- I think it's atrocious.
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์ด๋“ค-์ด๊ฒƒ๋“ค์€ ์ธ์œ„์ ์œผ๋กœ ๋งŒ๋“ค์–ด์ง„ ์†Œ๋น„์ž ์ค‘์‹ฌ์ฃผ์˜-๋‚ด์ƒ๊ฐ์— ์ด๊ฒƒ์€ ์ž”์ธํ•œ ๊ฒƒ์ž…๋‹ˆ๋‹ค.
01:44
My world is the world of people like Amory Lovins,
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์ €์˜ ์„ธ๊ณ„๋Š”
Amory Lovins, Janine Benyus, James Watson ๊ฐ™์€ ์‚ฌ๋žŒ๋“ค์˜ ์„ธ๊ณ„์ž…๋‹ˆ๋‹ค
01:49
Janine Benyus, James Watson.
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01:51
I'm in that world, but I work purely instinctively.
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์ €๋Š” ๊ทธ ์„ธ๊ณ„์†์— ์žˆ์ง€๋งŒ, ์ˆœ์ˆ˜ํ•˜๊ณ  ๋ฌด์˜์‹์ ์œผ๋กœ ์ผํ•ฉ๋‹ˆ๋‹ค.
01:55
I'm not a scientist. I could have been, perhaps,
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์ œ๊ฐ€ ๊ณผํ•™์ž๋Š” ์•„๋‹ˆ์ง€๋งŒ, ํ•  ์ˆ˜๋Š” ์žˆ์—ˆ์Šต๋‹ˆ๋‹ค. ์•„๋งˆ๋‘์š”.
01:58
but I work in this world where I trust my instincts.
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์ €๋Š” ์ œ๊ฐ€ ๋ฏฟ๋Š” ์ œ ๋ณธ๋Šฅ์†์—์„œ ์ผํ•ฉ๋‹ˆ๋‹ค.
02:00
So I am a 21st-century translator of technology
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๊ทธ๋ž˜์„œ, ์ €๋Š” 21์„ธ๊ธฐ ํ…Œํฌ๋†€๋กœ์ง€์˜ ๋ฒˆ์—ญ๊ฐ€์ž…๋‹ˆ๋‹ค.
02:07
into products that we use everyday and relate beautifully and naturally with.
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์šฐ๋ฆฌ๊ฐ€ ๋งค์ผ ์‚ฌ์šฉํ•˜๊ณ  ๋งํ•˜๋ฉฐ,์•„๋ฆ„๋‹ต๊ณ  ์ž์—ฐ์Šค๋Ÿฌ์›€์ด ํ•จ๊ป˜ํ•˜๋Š” ์ œํ’ˆ๋“ค ๋ง์ด์ฃ .
02:12
And we should be developing things -- we should be developing packaging
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๊ทธ๋ฆฌ๊ณ  ์šฐ๋ฆฌ๊ฐ€ ๋ฐœ์ „์‹œ์ผœ์•ผ ํ•˜๋Š” ๊ฒƒ๋“ค-
์šฐ๋ฆฌ๋Š” ์‚ฌ๋žŒ๋“ค์˜ ์ง€๊ฐ์„ ๋†’์ด๋Š” ์•„์ด๋””์–ด๋“ค์— ๋Œ€ํ•ด ๋ฐœ์ „์‹œํ‚ค๊ณ  ๊พธ๋ ค๋‚˜๊ฐ€์•ผ ํ•˜๋ฉฐ,
02:16
for ideas which elevate people's perceptions
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02:20
and respect for the things that we dig out of the earth
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์šฐ๋ฆฌ๊ฐ€ ์ง€๊ตฌ ๋ฐ– ์‚ฌ์ •๊นŒ์ง€ ์•Œ์•„๋‚ผ ์ˆ˜ ์žˆ๋Š” ๊ฒƒ์— ์กด๊ฒฝํ•ด์•ผ ํ•˜๊ณ ,
02:23
and translate into products for everyday use.
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์šฐ๋ฆฌ๊ฐ€ ๋งค์ผ ์‚ฌ์šฉํ•˜๋Š” ์ œํ’ˆ๋“ค์„ ๋ฐ”๊พธ์–ด ๋‚˜๊ฐ€์•ผ ํ•ฉ๋‹ˆ๋‹ค.
02:26
So, the water bottle.
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๋”ฐ๋ผ์„œ, ๋ฌผ๋ณ‘์ด๋ผ๋Š” ์•„์ดํ…œ์„ ๊ฐ€์ง€๊ณ 
02:28
I'll begin with this concept of what I call DNA.
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์ €๋Š” DNA๋ผ ๋ถˆ๋ฆฌ์šฐ๋Š” ์ปจ์…‰์„ ์‹œ์ž‘ํ•  ๊ฒ๋‹ˆ๋‹ค.
02:31
DNA: Design, Nature, Art.
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DNA : ๋””์ž์ธ, ์ž์—ฐ, ์˜ˆ์ˆ . ์ด ์„ธ๊ฐ€์ง€๋Š” ์ €์˜ ์„ธ๊ณ„์— ๋Œ€ํ•œ ํ‘œํ˜„์ž…๋‹ˆ๋‹ค.
02:33
These are the three things that condition my world.
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02:36
Here is a drawing by Leonardo da Vinci, 500 years ago, before photography.
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์ด๊ฒƒ์€ ๋ ˆ์˜ค๋‚˜๋ฅด๋„ ๋‹ค๋นˆ์น˜์˜ ๋“œ๋กœ์ž‰ ์ž…๋‹ˆ๋‹ค.
500๋…„ ์ „์˜ ์‚ฌ์ง„์ˆ ์ž…๋‹ˆ๋‹ค.
02:41
It shows how observation, curiosity and instinct
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์ด๊ฒƒ์€,์–ด๋–ป๊ฒŒ ๊ด€์ฐฐ๋ ฅ์„ ๊ฐ€์ง€๊ณ  ํ˜ธ๊ธฐ์‹ฌ ์žˆ๊ฒŒ, ๋ณธ๋Šฅ์ ์œผ๋กœ ๋†€๋ผ์šด ์˜ˆ์ˆ ์„ ์ฐฝ์กฐํ•ด ๋‚ด๋Š”์ง€์— ๊ด€ํ•ด ๋ณด์—ฌ์ฃผ๊ณ  ์žˆ์Šต๋‹ˆ๋‹ค.
02:46
work to create amazing art.
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02:49
Industrial design is the art form of the 21st century.
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์‚ฐ์—… ๋””์ž์ธ์€ 21์„ธ๊ธฐ์˜ ์˜ˆ์ˆ ์ž…๋‹ˆ๋‹ค.
02:52
People like Leonardo -- there have not been many --
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๋ ˆ์˜ค๋‚˜๋ฅด๋„๋ฅผ ์ข‹์•„ํ•˜๋Š” ์‚ฌ๋žŒ๋“ค - ๋งŽ์ง€๋Š” ์•Š์Šต๋‹ˆ๋‹ค๋งŒ-
02:56
had this amazingly instinctive curiosity.
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๊ทธ๋“ค์€ ๋†€๋ž„๋งŒํผ ์ง๊ด€์ ์ด๊ณ  ํ˜ธ๊ธฐ์‹ฌ์ด ๋งŽ์Šต๋‹ˆ๋‹ค.
02:59
I work from a similar position.
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์ €๋„ ๋น„์Šทํ•œ ์ž…์žฅ์—์„œ ์ผํ•ฉ๋‹ˆ๋‹ค.
03:01
I don't want to sound pretentious saying that,
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๊ฑด๋ฐฉ์ง„ ์†Œ๋ฆฌ ํ•˜๋Š”๊ฑธ ์›ํ•˜์ง„ ์•Š์ง€๋งŒ,
03:03
but this is my drawing made on a digital pad a couple of years ago --
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์ด ๋“œ๋กœ์ž‰์€ ๋ช‡๋…„ ์ „ ์ฏค ๋””์ง€ํ„ธ ํŒจ๋“œ๋กœ ๋งŒ๋“ค์—ˆ์Šต๋‹ˆ๋‹ค.
03:07
well into the 21st century, 500 years later.
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21์„ธ๊ธฐ์— ๋งŒ๋‚˜๋Š” 500๋…„ ์ „ ์ž…๋‹ˆ๋‹ค.
03:09
It's my impression of water.
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์ด๊ฒƒ์€ ๋ฌผ์— ๋Œ€ํ•œ ์ €์˜ ์ธ์ƒ์ž…๋‹ˆ๋‹ค.
03:12
Impressionism being the most valuable art form on the planet as we know it:
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์šฐ๋ฆฌ๊ฐ€ ์•Œ๋‹ค์‹œํ”ผ ์ธ์ƒํŒŒ ์˜ˆ์ˆ ์€ ์ด ํ–‰์„ฑ์—์„œ ์ตœ๊ณ ๋กœ ๊ฐ€์น˜์žˆ๋Š” ์˜ˆ์ˆ ์˜ ํ•œ ํ˜•ํƒœ์ž…๋‹ˆ๋‹ค.
03:16
100 million dollars, easily, for a Monet.
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๋ชจ๋„ค์—๊ฒŒ ์ˆ˜๋ฐฑ๋งŒ ๋‹ฌ๋ผ ์ •๋„๋Š” ์–ด๋ ต์ง€ ์•Š์Šต๋‹ˆ๋‹ค
03:18
I use, now, a whole new process.
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์ €๋Š” ์ด์ œ๋ถ€ํ„ฐ ์ƒˆ๋กœ์šด ๊ณผ์ •์œผ๋กœ ๋ชจ๋“  ์ผ์„ ์ง„ํ–‰ํ• ๊ฒ๋‹ˆ๋‹ค.
03:20
A few years ago I reinvented my process
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๋ช‡๋…„์ „๋ถ€ํ„ฐ ์ €๋Š” ๋‚ด ํ”„๋กœ์„ธ์Šค๋ฅผ ์œ ์ง€์‹œํ‚ค๋Š” ๋ฐฉ๋ฒ•์„ ์žฌ ๋ฐœ๋ช…ํ–ˆ์ฃ .์‚ฌ๋žŒ๋“ค์ด ์ข‹์•„ํ•˜๋Š”
03:22
to keep up with people like Greg Lynn, Thom Mayne, Zaha Hadid, Rem Koolhaas --
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Greg Lynn, Tom Main, Zaha Hadid, Rem Koolhaas-
03:27
all these people that I think are persevering and pioneering
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๋‚ด ์ƒ๊ฐ์— ์ด ๋ชจ๋“  ์‚ฌ๋žŒ๋“ค์€, ์ฐธ์„์„ฑ ์žˆ๋Š” ๊ฐœ์ฒ™์ž๋“ค์ด๋ฉฐ
03:30
with fantastic new ideas of how to create form.
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์–ด๋–ป๊ฒŒ ์ƒˆ๋กœ์šด ํ˜•ํƒœ๋ฅผ ์ฐฝ์กฐํ•˜๋Š”์ง€์— ๋Œ€ํ•œ ํ™˜์ƒ์ ์ธ ์•„์ด๋””์–ด๋ฅผ ๊ฐ€์ง€๊ณ  ์žˆ์—ˆ์Šต๋‹ˆ๋‹ค.
03:34
This is all created digitally.
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์ด๊ฒƒ์€ ๋ชจ๋‘ ๋””์ง€ํ„ธ์ ์œผ๋กœ ์ฐฝ์กฐ๋˜์—ˆ์Šต๋‹ˆ๋‹ค.
03:35
Here you see the machining, the milling of a block of acrylic.
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์—ฌ๊ธฐ ์—ฌ๋Ÿฌ๋ถ„์ด ๋ณด๋Š”, ๊ฒ€์€ ์•„ํฌ๋ฆด์„ ๋งค๋ˆํ•˜๊ฒŒ ๋‹ค๋“ฌ์–ด ๋†“์€ ์ด๊ฒƒ.
03:39
This is what I show to the client to say, "That's what I want to do."
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์ด๊ฒƒ์„ ์ œ๊ฐ€ ํด๋ผ์ด์–ธํŠธ์—๊ฒŒ ๋ณด์—ฌ์ฃผ๋ฉฐ, "์ด๊ฒƒ์ด ๋‚ด๊ฐ€ ์›ํ•˜๋Š” ๊ฑฐ์—์š”." ๋ผ๊ณ  ๋งํ–ˆ์–ด์š”.
03:42
At that point, I don't know if that's possible at all.
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์ด ๋•Œ ์ €๋Š” ์ œ์•ˆํ•œ ๊ฒƒ ๋ชจ๋‘๊ฐ€ ๊ฐ€๋Šฅํ•œ์ง€์— ๋Œ€ํ•ด์„œ๋Š” ์•Œ์ง€ ๋ชปํ–ˆ์–ด์š”.
03:45
It's a seductor, but I just feel in my bones that that's possible.
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๊ทธ๋Ÿฌ๋‚˜ ์ œ ๋ผˆ์† ๊นŠ์ด๊นŒ์ง€ ์–ด๋–ค ๊ธฐ์šด์„ ๋Š๊ผˆ๋‹ค๋ฉด, ๊ทธ๊ฑด ๊ฐ€๋Šฅํ•œ๊ฑฐ์—์š”.
03:50
So we go, we look at the tooling.
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๊ทธ๋ž˜์„œ, ์ €ํฌ๋Š” ํ•ฉ๋‹ˆ๋‹ค. ์ €ํฌ๋Š” ์–ด๋–ป๊ฒŒ ์ € ๋…€์„์„ ์ƒ์‚ฐํ• ์ง€ ๋„๊ตฌ๋“ค์„ ๋ด์š”.
03:53
We look at how that is produced.
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03:54
These are the invisible things that you never see in your life.
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์ €๊ฒƒ์€ ์šฐ๋ฆฌ์˜ ์‚ถ์—์„œ ํ•œ๋ฒˆ๋„ ๋ณด์ง€ ๋ชปํ•œ ๊ฒƒ์ด์—์š”.
03:57
This is the background noise of industrial design.
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์ด๊ฒƒ์˜ ๋ฐฐ๊ฒฝ์—๋Š” ์‚ฐ์—… ๋””์ž์ธ์ด ์žˆ์Šต๋‹ˆ๋‹ค.
04:00
That is like an Anish Kapoor flowing through a Richard Serra.
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์ด๊ฒƒ์€ Richard Serra๋ฅผ ๋”ฐ๋ฅด๋Š” Anish Kapoor๊ณผ ๋น„์Šทํ•ฉ๋‹ˆ๋‹ค.
04:04
It is more valuable than the product in my eyes.
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์ด๊ฒƒ์€ ์ œ๊ฐ€ ๋ณด๊ธฐ์— ๋งค์šฐ ๊ฐ’์ง„ ์ƒ์‚ฐํ’ˆ์ด๋ฉฐ, ์ €๋Š” ์ด๊ฒƒ์„ ๊ฐ€์ ธ ๋ณธ ์ ์ด ์—†์Šต๋‹ˆ๋‹ค.
04:06
I don't have one.
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04:07
When I do make some money, I'll have one machined for myself.
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์ œ๊ฐ€ ์–ด๋Š์ •๋„ ๋ˆ์„ ๋ฒŒ์—ˆ์„ ๋•Œ, ์ €๋Š” ์ง์ ‘ ์ €๊ฑธ ์„ค๊ณ„ํ•  ๊ฒƒ์ž…๋‹ˆ๋‹ค.
04:10
This is the final product.
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์ด๊ฒƒ์ด ์ตœ์ข… ์ƒ์‚ฐ๋ฌผ์ž…๋‹ˆ๋‹ค. ๊ทธ๋“ค์ด ์ €์—๊ฒŒ ์ด๊ฒƒ์„ ๋ณด๋ƒˆ์„๋•Œ ์ €๋Š” ์ œ๊ฐ€ ์‹คํŒจํ•˜๊ฒŒ ๋ ๊ฑฐ๋ผ ์ƒ๊ฐํ–ˆ์Šต๋‹ˆ๋‹ค.
04:12
When they sent it to me, I thought I'd failed.
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04:14
It felt like nothing. It has to feel like nothing.
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์ด๊ฒƒ์—๋Š” ์•„๋ฌด๊ฒƒ๋„ ๋Š๊ปด์ง€์ง€ ์•Š์Šต๋‹ˆ๋‹ค. ์ด๊ฒƒ์˜ ๋Š๋‚Œ์€ ๋ฌดํ˜•์ž…๋‹ˆ๋‹ค.
04:16
It was when I put the water in
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์•ˆ์—๋‹ค ๋ฌผ์„ ๋‹ด์•˜์„ ๋•Œ, ์ €๋Š” ๋ฌผ์˜ ํ‘œ๋ฉด์—๋‹ค ์ง์ ‘ ๋ฌผ์„ ๋‹ด๋Š”๋“ฏํ•œ ํ˜•ํƒœ๋ฅผ ํ‘œํ˜„ํ•˜๊ธธ ์›ํ–ˆ์Œ์„ ์‹ค๊ฐํ–ˆ์Šต๋‹ˆ๋‹ค.
04:18
that I realized that I'd put a skin on water itself.
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04:20
It's an icon of water itself,
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์ด๊ฒƒ์€ ๋ฌผ ๊ทธ๋Œ€๋กœ์˜ ํ˜•์ƒ์ž…๋‹ˆ๋‹ค.
04:22
and it elevates people's perception of contemporary design.
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๊ทธ๋ฆฌ๊ณ  ์ด๊ฒƒ์€ ๋™ ์‹œ๋Œ€์— ์žˆ๋Š” ๋””์ž์ธ์— ๋Œ€ํ•œ ์‚ฌ๋žŒ๋“ค์˜ ์ธ์‹์„ ํ•œ ๋‹จ๊ณ„ ๋Œ์–ด์˜ฌ๋ ค ์ค๋‹ˆ๋‹ค.
04:26
Each bottle is different,
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๊ฐ๊ฐ์˜ ๋ณ‘์ด ๋‹ค๋ฅด๋‹ค๋Š” ๊ฒƒ์€, ์ˆ˜ํ‰๋ฉด์ด ์—ฌ๋Ÿฌ๋ถ„์—๊ฒŒ ๊ฐ๊ฐ ๋‹ค๋ฅธ ๋ชจ์–‘๋“ค์„ ๋ณด์—ฌ ์ค„ ๊ฒƒ์ด๋ผ๋Š”๊ฑธ ์˜๋ฏธํ•ฉ๋‹ˆ๋‹ค.
04:28
meaning the water level will give you a different shape.
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04:30
It's mass individualism from a single product.
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์ด๊ฒƒ์€ ํ•˜๋‚˜์˜ ์ œํ’ˆ์ด ๊ฐ€์ง€๋Š” ํฐ ๊ฐœ์„ฑ์ž…๋‹ˆ๋‹ค. ์ด๊ฒƒ์€ ์†์— ๊ผญ ๋งž์Šต๋‹ˆ๋‹ค.
04:33
It fits the hand.
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04:35
It fits arthritic hands. It fits children's hands.
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๊ด€์ ˆ์—ผ์— ๊ฑธ๋ฆฐ ์†์—๋„ ์ ํ•ฉํ•˜๋ฉฐ, ์–ด๋ฆฐ ์•„์ด๋“ค์˜ ์†์—๋„ ๊ผญ ๋งž์Šต๋‹ˆ๋‹ค.
04:37
It makes the product strong, the tessellation.
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๋ชจ์ž์ดํฌ ์„ธ๊ณต์œผ๋กœ, ์ œํ’ˆ์„ ๋” ๊ฐ•ํ•˜๊ฒŒ ๋งŒ๋“ค์—ˆ์Šต๋‹ˆ๋‹ค.
04:39
It's a millefiori of ideas.
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์ด๊ฒƒ์€ ๊ฝƒ ์œ ๋ฆฌ ์žฅ์‹ ์•„์ด๋””์–ด ์ž…๋‹ˆ๋‹ค.
04:41
In the future, they will look like that,
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๋ฏธ๋ž˜์— ๊ทธ๋“ค์€ ์ €๊ฒƒ๊ณผ ๋น„์Šทํ•œ ๊ฒƒ๋“ค์„ ๋ณผ๊ฒ๋‹ˆ๋‹ค, ์™œ๋ƒ๋ฉด ์šฐ๋ฆฌ๋Š”
04:44
because we need to move away from those type of polymers
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ํด๋ฆฌ๋จธ์™€ ๋น„์Šทํ•œ ์ €๋Ÿฐ ํƒ€์ž…, ๊ทธ๋ฆฌ๊ณ  ์˜ํ•™์žฅ๋น„๋‚˜
04:47
and use that for medical equipment
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04:48
and more important things, perhaps, in life.
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๋งŽ์€ ์ค‘์š”ํ•œ ๊ฒƒ๋“ค์„ ์•„๋งˆ๋„ ์šฐ๋ฆฌ์˜ ์‚ถ์—์„œ ํ•„์š”๋กœ ํ• ํ…Œ๋‹ˆ๊นŒ์š”.
04:51
Biopolymers, these new ideas for materials,
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์ƒ๋ฌผ ๊ณ ๋ถ„์ž ๋ฌผ์งˆ, ์žฌ๋ฃŒ๊ณต๋ฒ•์— ์ƒˆ๋กœ์šด ์•„์ด๋””์–ด์ธ ๊ทธ๊ฒƒ์€
04:53
will come into play in probably a decade.
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์•„๋งˆ 10๋…„์•ˆ์— ๋†€์ด ์•ˆ์œผ๋กœ ๋“ค์–ด์˜ฌ๊ฑฐ์—์š”.
04:56
It doesn't look as cool, does it?
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์ฐจ๊ฐ€์›Œ ๋ณด์ด์ง€ ์•Š์ฃ ? ๊ทธ๋ ‡์ฃ ?
04:57
But I can live up to that. I don't have a problem with that.
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๊ทธ๋Ÿฌ๋‚˜ ์ €๋Š” ์ด ๋…€์„์ด ๋ถ€๋„๋Ÿฌ์›Œ์ง€์ง€ ์•Š๊ฒŒ ํ•  ์ˆ˜ ์žˆ์–ด์š”. ์ €๋Š” ์•„๋ฌด ์–ด๋ ค์›€์ด ์—†์Šต๋‹ˆ๋‹ค
05:00
I design for that condition, biopolymers. It's the future.
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์ €๋Š” ์ด๊ฒƒ์„ ์ƒ๋ฌผ๊ณ ๋ถ„์ž ๋ฌผ์งˆ๋กœ ๋””์ž์ธ ํ–ˆ์–ด์š”. ์ด๊ฒŒ ๋ฐ”๋กœ ๋ฏธ๋ž˜์ฃ !
05:05
I took this video in Cape Town last year.
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์ €๋Š” ์ด ๋น„๋””์˜ค๋ฅผ ์ž‘๋…„์— ์ผ€์ดํ”„ ํƒ€์šด์—์„œ ๊ฐ€์ ธ์™”์Šต๋‹ˆ๋‹ค.
05:08
This is the freaky side coming out.
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์ด๊ฑด ๋๋‚ด์ฃผ๋Š”๊ฑธ ๋ณด์—ฌ์ฃผ์ง€์š”.
05:09
I have this special interest in things like this, which blow my mind.
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์ œ ๋งˆ์Œ์„ ํ”๋“œ๋Š” ์ด๋Ÿฐ ๊ฒƒ๋“ค์— ์ƒ๋‹นํ•œ ํฅ๋ฏธ๋ฅผ ๊ฐ€์ง€๊ณ  ์žˆ์Šต๋‹ˆ๋‹ค.
05:14
I don't know whether to, you know, drop to my knees, cry;
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์ œ ๊ฐ์ •์ด ๋ถ๋ฐ›์ณ ๋ˆˆ๋ฌผ์ด ๋‚˜๋Š” ์ด์œ ๋ฅผ ์ €๋„ ์ž˜ ๋ชจ๋ฆ…๋‹ˆ๋‹ค.
05:17
I don't know what I think.
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์ œ๊ฐ€ ๋ฌด์Šจ์ƒ๊ฐ์„ ํ•˜๋Š”์ง€๋„ ์ž˜ ๋ชจ๋ฆ…๋‹ˆ๋‹ค. ๊ทธ๋ ‡์ง€๋งŒ
05:18
But I just know that nature --
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05:22
nature improves with ever-greater purpose
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์ž์—ฐ์„ ํ™œ์šฉํ•˜๋Š” ํฐ์˜๋ฏธ๋ฅผ ๊ฐ€์ง€๋Š” ์ผ์€ ํ•œ ๋ฒˆ์ฏค์€ ์กด์žฌํ–ˆ๊ณ ,
05:27
that which once existed,
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05:30
and that strangeness is a consequence of innovative thinking.
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๊ทธ๋Ÿฌํ•œ ์‹ ๋น„๋กœ์šด ์ผ์€ ๊ธฐ๋ฐœํ•œ ์ƒ๊ฐ์—์„œ ๋น„๋กฏ๋œ๋‹ค๋Š” ๊ฒƒ์€ ์ž˜ ์•Œ๊ณ  ์žˆ์Šต๋‹ˆ๋‹ค.
05:33
When I look at these things, they look pretty normal to me.
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์ œ๊ฐ€ ๊ทธ๊ฒƒ์„ ๋ณด์•˜์„๋•Œ, ๊ทธ๋“ค์€ ์•„๋ฆ„๋‹ค์›€ ๊ทธ๋Œ€๋กœ์˜ ๋ชจ์Šต์ด์—ˆ์Šต๋‹ˆ๋‹ค.
05:36
But these things evolved over many years, and what we're trying to do --
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๊ทธ๋Ÿฌ๋‚˜ ๊ทธ๊ฒƒ์€ ๋ช‡๋…„์„ ๊ฑฐ์ณ ๋ณ€ํ™”๋์œผ๋ฉฐ, ์ง€๊ธˆ๋„ ๋…ธ๋ ฅ์ค‘์ž…๋‹ˆ๋‹ค.
05:39
I get three weeks to design a telephone. How the hell do I do that,
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์ €๋Š” ์ „ํ™”๊ธฐ๋ฅผ ๋””์ž์ธํ•˜๋Š”๋ฐ 3์ฃผ๋ฅผ ๋ฐ›์•˜์Šต๋‹ˆ๋‹ค.
3์ฃผ์•ˆ์— ์ „ํ™”๊ธฐ๋ฅผ ๋งŒ๋“œ๋Š”๊ฒŒ ์–ผ๋งˆ๋‚˜ ์ง€์˜ฅ์ธ์ง€์š”,
05:43
when you get these things that take hundreds of millions of years to evolve?
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์—ฌ๋Ÿฌ๋ถ„์ด ๊ฐ€์ง„ ์ „ํ™”๊ธฐ๋“ค์€ ๋ช‡๋ฐฑ๋…„๋™์•ˆ ๋ฐœ์ „๋˜์–ด ์˜จ ๊ฒƒ์ธ๋ฐ ๋ง์ด์ฃ ?
05:46
How do you condense that?
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์–ด๋–ป๊ฒŒ ๊ทธ๊ฒƒ๋“ค์„ ์‘์ถ•์‹œ์ผœ ๋‚ผ ์ˆ˜ ์žˆ์„๊นŒ์š”
05:48
It comes back to instinct.
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์ด๊ฒƒ์€ ๋ณธ๋Šฅ์œผ๋กœ ๋Œ์•„๊ฐ€๋Š”๊ฑฐ์ฃ 
05:49
I'm not talking about designing telephones that look like that
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์ด๋Ÿฐ ์ „ํ™”๊ธฐ๋“ค์„ ๋””์ž์ธํ•˜๋Š” ๊ฒƒ์— ๋Œ€ํ•ด์„œ๋Š” ๋” ์ด์ƒ ๋งํ•˜์ง€ ์•Š๊ฒ ์Šต๋‹ˆ๋‹ค.
05:52
and I'm not looking at designing architecture like that.
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๊ทธ๋ฆฌ๊ณ , ์ด๋Ÿฐ์‹์œผ๋กœ ์„ค๊ณ„๋œ ๊ฑด์ถ•๋ฌผ๋“ค๋„ ๋ณด์ง€ ์•Š๊ฒ ์–ด์š”.
05:55
I'm just interested in natural growth patterns
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์ €๋Š” ์ž์—ฐ์ ์œผ๋กœ ์ž๋ผ๋‚˜๋Š” ํŒจํ„ด๋“ค์ด๋‚˜,
05:57
and the beautiful forms that only nature really creates.
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์ž์—ฐ์ด ๋งŒ๋“ค์–ด ๋‚ธ ์•„๋ฆ„๋‹ค์šด ํ˜•์ƒ๋“ค์— ํฅ๋ฏธ๋ฅผ ๋Š๋‚๋‹ˆ๋‹ค.
06:01
How that flows through me and how that comes out
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์–ด๋–ป๊ฒŒ ์ €๋Ÿฐ ๊ฝƒ๋“ค์ด ๋‚ด ๋ˆˆ์— ๋„์—ˆ์„๊นŒ..๊ทธ๋ฆฌ๊ณ  ์ด๋…€์„๋“ค์ด
06:04
is what I'm trying to understand.
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์–ด๋–ป๊ฒŒ ์„ธ์ƒ์— ๋‚˜์™”์„๊นŒ์— ๋Œ€ํ•ด ์ €๋Š”, ์ดํ•ดํ•˜๋ ค๊ณ  ์• ์“ฐ๊ณ  ์žˆ์–ด์š”.
06:06
This is a scan through the human forearm.
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์ด๊ฒƒ์€ ์‚ฌ๋žŒ์˜ ํŒ”์„ ๋ณธ๋œฌ๊ฑฐ์—์š”. ์ด๊ฒƒ์€ ๋น ๋ฅธ ์†๋„๋กœ ์ž๋ผ๋‚˜
06:09
It's then blown up through rapid prototyping
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์„ธํฌ ๋‹จ๊ณ„์—์„œ ๊ฐ์ถ”์–ด์ ธ ์žˆ๋˜๊ฒƒ์„ ๋“œ๋Ÿฌ๋ƒ…๋‹ˆ๋‹ค. ์ œ ์‚ฌ๋ฌด์‹ค์—๋„ ์ด๋…€์„์„ ๊ฐ€์ง€๊ณ  ์žˆ์Šต๋‹ˆ๋‹ค.
06:12
to reveal its cellular structure.
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06:13
I have these in my office.
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06:15
My office is a mixture of the Natural History Museum
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์ œ ์‚ฌ๋ฌด์‹ค์€ ์ž์—ฐ ์—ญ์‚ฌ ๋ฐ•๋ฌผ๊ด€๊ณผ ๋‚˜์‚ฌ ์šฐ์ฃผ ์—ฐ๊ตฌ์‹ค์„ ์งœ์ง‘์–ด ๋†“์€๋“ฏ ํ•ฉ๋‹ˆ๋‹ค.
06:18
and a NASA space lab.
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06:20
It's a weird, kind of freaky place.
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์ด ์†Œ๋ฆ„๋ผ์น˜๋Š” ๊ณต๊ฐ„์€ ์ดˆ ์ž์—ฐ์ ์ธ ๊ฒƒ์ž…๋‹ˆ๋‹ค.
06:22
This is one of my specimens.
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์ด๊ฒƒ์€ ์ œ ํ‘œ๋ณธํ’ˆ ์ค‘ ํ•˜๋‚˜์ž…๋‹ˆ๋‹ค.
06:24
This is made --
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๋ผˆ๋Š” ์กฐ์ง์ฒด๊ณ„๊ฐ€ ์—†๋Š” ๋ฏธ๋„ค๋ž„๋“ค๊ณผ ํด๋ฆฌ๋จธ์˜ ํ•ฉ์„ฑ๋ฌผ๋กœ ๋˜์–ด ์žˆ์Šต๋‹ˆ๋‹ค.
06:26
bone is made from a mixture of inorganic minerals and polymers.
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06:33
I studied cooking in school for four years, and in that experience,
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์ €๋Š” 4๋…„๊ฐ„ ํ•™๊ต์—์„œ ์š”๋ฆฌ๋ฅผ ๋ฐฐ์› ์—ˆ์Šต๋‹ˆ๋‹ค, ๊ทธ๋ฆฌ๊ณ  ๊ทธ ๊ฒฝํ—˜,
06:37
which was called "domestic science,"
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๊ฐ€์ •์†์˜ ๊ณผํ•™์ด๋ผ๊ณ  ๋ถˆ๋ฆฌ์šฐ๋Š” ๊ทธ ๊ฒฝํ—˜์€,
06:39
it was a bit of a cheap trick for me to try and get a science qualification.
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์ €๋กœ ํ•˜์—ฌ๊ธˆ, ๋…ธ๋ ฅ๊ณผ ๊ณผํ•™์  ์ž์งˆ์„ ๋” ๊ฐ€๊พธ๊ฒŒ ํ•ด ์ค€ ์‹ธ๊ตฌ๋ ค ์ˆ ์ˆ˜์˜€์Šต๋‹ˆ๋‹ค.
06:43
(Laughter)
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(์›ƒ์Œ)
06:44
Actually, I put marijuana in everything I cooked --
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์‚ฌ์‹ค์ƒ, ์ €๋Š” ๋งˆ๋ฆฌ์™€๋‚˜๋ฅผ ์ œ๊ฐ€ ์š”๋ฆฌํ–ˆ๋˜ ๋ชจ๋“ ๊ฒƒ์— ๋„ฃ์—ˆ์Šต๋‹ˆ๋‹ค.--(์›ƒ์Œ)
06:47
(Laughter)
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06:48
And I had access to all the best girls. It was fabulous.
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๊ทธ๋ฆฌ๊ณ  ์ €๋Š” ์ œ๊ฐ€ ์•„๋Š” ์ตœ๊ณ ์˜ ์—ฌ์ž๋“ค์—๊ฒŒ ๋‹ค๊ฐ€๊ฐ”์Šต๋‹ˆ๋‹ค. ๊ทธ๊ฑด ์•„์ฃผ ๋ฉ‹์ง„ ์ผ์ด์—ˆ์ฃ !
06:51
All the guys in the rugby team couldn't understand.
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๋Ÿญ๋น„ํŒ€์˜ ๋ชจ๋“  ๋‚จ์ž๋“ค์€ ์ดํ•ดํ•˜์ง€ ๋ชปํ–ˆ์ง€๋งŒ, ์–ด์จŒ๋“ --
06:53
Anyway -- this is a meringue.
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์ด๊ฒƒ์€ ๋จธ๋žญ๊ณผ์ž์ž…๋‹ˆ๋‹ค. ์ด๊ฒƒ์€ ์ œ๊ฐ€ ๊ฐ€์ง„ ๋‹ค๋ฅธ ์ƒ˜ํ”Œ์ž…๋‹ˆ๋‹ค.
06:55
This is another sample I have.
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06:56
A meringue is made exactly the same way, in my estimation, as a bone.
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์ œ ์ƒ๊ฐ์—, ๋จธ๋žญ์€ ์‚ฌ์‹ค์ƒ ๋ผˆ์™€ ๊ฐ™์€ ๋ฐฉ๋ฒ•์œผ๋กœ ๋งŒ๋“ค์–ด ์กŒ์–ด์š”.
07:00
It's made from polysaccharides and proteins.
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์ด๊ฒƒ์€ ๋‹ค๋‹น๋ฅ˜(polysaccharides)์™€ ๋‹จ๋ฐฑ์งˆ(proteins)์œผ๋กœ ๊ตฌ์„ฑ๋˜์–ด ์žˆ์Šต๋‹ˆ๋‹ค.
07:03
If you pour water on that, it dissolves.
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๋งŒ์ผ ์ด ์œ„์— ๋ฌผ์„ ๋ถ€์œผ๋ฉด, ์ด๊ฒƒ์€ ๋…น์Šต๋‹ˆ๋‹ค.
07:06
Could we be manufacturing from foodstuffs in the future?
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๋ฏธ๋ž˜์—๋Š”, ์šฐ๋ฆฌ๊ฐ€ ์Œ์‹ ์žฌ๋ฃŒ๋„ ์ œ์กฐํ•  ์ˆ˜ ์žˆ์„๊นŒ์š”?
07:09
Not a bad idea. I don't know.
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๋‚˜์œ ์•„์ด๋””์–ด๋Š” ์•„๋‹™๋‹ˆ๋‹ค. ์ €๋„ ๋ชจ๋ฆ…๋‹ˆ๋‹ค. Janine ๊ทธ๋ฆฌ๊ณ  ์ด๊ฒƒ๊ณผ
07:11
I need to talk to Janine and a few other people about that,
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๊ด€๋ จ๋œ ์‚ฌ๋žŒ๋“ค๊ณผ ์ด์•ผ๊ธฐ ํ•ด ๋ณด์•„์•ผ ๊ฒ ๊ตฐ์š”. ๊ทธ๋Ÿฌ๋‚˜ ์ €๋Š” ๋ณธ๋Šฅ์ ์œผ๋กœ ๋ฏฟ์Šต๋‹ˆ๋‹ค.
07:14
but I believe instinctively that that meringue can become something,
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๊ทธ ๋จธ๋žญ์ด ์ฐจ์™€ ๊ฐ™์€ ๋ฌด์–ธ๊ฐ€๊ฐ€ ๋  ์ˆ˜๋„ ์žˆ๋‹ค๋Š” ๊ฑธ-- ์ €๋„ ์ž˜ ์•Œ์ง€๋Š” ๋ชปํ•˜์ง€๋งŒ์š”.
07:18
a car -- I don't know.
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07:20
I'm also interested in growth patterns:
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์ €๋Š” ๋˜ํ•œ ์ž๋ผ๊ณ  ์žˆ๋Š” ์‹๋ฌผ ํŒจํ„ด์— ๋Œ€ํ•ด ๊ด€์‹ฌ์ด ๋งŽ์Šต๋‹ˆ๋‹ค :
07:22
the unbridled way that nature grows things
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์ž์—ฐ์—์„œ ์ž์—ฐ์Šค๋Ÿฝ๊ฒŒ ์ž๋ผ๋‚˜๋Š” ๊ฒƒ๋“ค์€, ์—ฌ๋Ÿฌ๋ถ„๋“ค์ด ์ œํ•œ๋œ ํ˜•ํƒœ ์†์—์„œ ๋ฒ—์–ด๋‚˜๋„๋ก ํ•ด ์ฃผ์ฃ .
07:26
so you're not restricted by form at all.
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07:29
These interrelated forms, they do inspire everything I do,
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๊ทธ๊ฒƒ๋“ค์€ ๋ชจ๋‘ ํ˜•ํƒœ์™€ ์—ฐ๊ด€์„ฑ์ด ์žˆ์œผ๋ฉฐ, ์ œ๊ฐ€ ํ•˜๋Š” ๋ชจ๋“  ์ผ์— ์ž๊ทน์„ ์ค๋‹ˆ๋‹ค.
07:33
although I might end up making something incredibly simple.
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๋น„๋ก ์ œ๊ฐ€, ํ„ฐ๋ฌด๋‹ˆ ์—†๋Š” ๋ฌด์–ธ๊ฐ€๋ฅผ ๋งŒ๋“ค์—ˆ๋”๋ผ๋„ ๋ง์ด์ฃ .
07:36
This is a detail of a chair that I've designed in magnesium.
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์ด๊ฒƒ์€ ์ œ๊ฐ€ ๋งˆ๊ทธ๋„ค์Š˜์œผ๋กœ ์„ค๊ณ„ํ•œ ์˜์ž์˜ ์„ธ๋ถ€๋ชจ์Šต์ž…๋‹ˆ๋‹ค.
07:39
It shows this interlocution of elements and the beauty of, kind of, engineering
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์ด ๋…€์„์€ ์šฐ๋ฆฌ์—๊ฒŒ ๊ตฌ์„ฑ๋ฌผ์งˆ์— ๊ด€ํ•œ ํšŒ๋‹ด๊ณผ ๊ณตํ•™์ ์ธ ์•„๋ฆ„๋‹ค์›€ ๊ทธ๋ฆฌ๊ณ ,
07:44
and biological thinking,
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์ƒ๋ฌผํ•™์ ์ธ ์‚ฌ๊ณ ๋ฅผ ๋ณด์—ฌ์ฃผ๋Š”๋ฐ ์ด๋Ÿฌํ•œ ๋ผˆ ๊ตฌ์กฐ๋ฌผ์€ ๋˜ํ•œ ๋งค์šฐ ์ด์ฉ๋‹ˆ๋‹ค.
07:46
shown pretty much as a bone structure.
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07:48
Any one of those elements you could sort of hang on the wall
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์–ด๋– ํ•œ ๊ตฌ์„ฑ๋ฌผ์งˆ๋“ค์ด๋ผ๋„ ์—ฌ๋Ÿฌ๋ถ„์€ ์˜ˆ์ˆ  ์ž‘ํ’ˆ์ฒ˜๋Ÿผ ๋ฒฝ์— ๊ฑธ์–ด ๋‘˜ ์ˆ˜ ์žˆ์–ด์š”.
07:51
as some kind of art object.
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07:53
It's the world's first chair made in magnesium.
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์ด๊ฒƒ์€ ๋งˆ๊ทธ๋„ค์Š™์œผ๋กœ ์˜์ž๋ฅผ ๋งŒ๋“  ์ฒ˜์Œ ์‚ฌ๋ก€์ž…๋‹ˆ๋‹ค.
07:56
It cost 1.7 million dollars to develop.
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์ด๊ฒƒ์˜ ๊ฐ€๊ฒฉ์€ ์ฒœ ์น ๋ฐฑ๋งŒ ๋‹ฌ๋Ÿฌ์— ๋‹ฌํ•ฉ๋‹ˆ๋‹ค. ์ด๊ฒƒ์€ USA์—์„œ ๋ฒ ๋ฅด๋‚˜๋ฅด์— ์˜ํ•ด 'GO'๋ผ๊ณ  ๋ถˆ๋ฆฝ๋‹ˆ๋‹ค.
07:58
It's called "Go," by Bernhardt, USA.
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08:01
It went into Time magazine in 2001 as the new language of the 21st century.
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๋˜ํ•œ ์ด ์ œํ’ˆ์€ 2001 ํƒ€์ž„ ๋งค๊ฑฐ์ง„
21์„ธ๊ธฐ ์ƒˆ๋กœ์šด ์–ธ์–ด ๋ž€์—๋„ ์†Œ๊ฐœ๋˜์—ˆ์Šต๋‹ˆ๋‹ค.
08:07
Boy. For somebody growing up in Wales in a little village, that's enough.
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๋ˆ„๊ตฐ๊ฐ€ ์›จ์ผ์Šค ์•ˆ์˜ ์ž‘์€ ๋งˆ์„์—์„œ ์ž๋ผ๋‚ฌ๋‹ค๋ฉด, ๊ทธ๊ฒƒ์œผ๋กœ ์ถฉ๋ถ„ํ•ฉ๋‹ˆ๋‹ค.
08:12
It shows how you make one holistic form, like the car industry,
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์ด๊ฒƒ์€ ๋งˆ์น˜ ์ž๋™์ฐจ ์‚ฐ์—…์ฒ˜๋Ÿผ, ์—ฌ๋Ÿฌ๋ถ„์ด ์–ด๋–ป๊ฒŒ ํ•˜๋‚˜์˜ ์ „์ฒด์ ์ธ ๋ชจ์–‘์„ ๋งŒ๋“œ๋Š”์ง€๋ฅผ ๋ณด์—ฌ์ฃผ๊ณ 
08:15
and then you break up what you need.
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์—ฌ๋Ÿฌ๋ถ„์€ ํ•„์š”๋กœ ํ•˜๋Š”๊ฒŒ ๋ฌด์–ธ์ง€ ๊นจ๋‹ซ๊ฒŒ ํ•ด์ค๋‹ˆ๋‹ค.
08:16
This is an absolutely beautiful way of working.
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์ด๊ฒƒ์€ ์ผ์— ์žˆ์–ด ์ •๋ง๋กœ ๋ฉ‹์ง„ ๋ฐฉ๋ฒ•์ด์—์š”.
08:19
It's a godly way of working.
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๋งˆ์น˜ ์‹ ์˜ ๊ณ„์‹œ์™€ ๊ฐ™์ฃ !
08:21
It's organic and it's essential.
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์ด๊ฑด- ์ž์—ฐ์ ์ด๋ฉฐ, ํ•„์ˆ˜ ๋ถˆ๊ฐ€๊ฒฐํ•œ๊ฒ๋‹ˆ๋‹ค.
08:23
It's an absolutely fat-free design,
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๋ณด๋‹ค์‹œํ”ผ ์ด๊ฑด ํ™•์‹คํžˆ ๊ตฐ๋”๋”๊ธฐ ์—†๋Š” ๋””์ž์ธ์ด์—์š”.
08:25
and when you look at it, you see human beings.
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์ธ๋ฅ˜๋ฅผ ๋ณด์„ธ์š”. ๊ทธ๋ฆฌ๊ณ  ์ถ•๋ณตํ•˜์„ธ์š”.
08:29
When that moves into polymers,
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์—ฌ๋Ÿฌ๋ถ„์€ ํด๋ฆฌ๋จธ๋ฅผ ๊ฐ€์ง€๊ณ  ์‹ ์ถ•์„ฑ ์žˆ๊ณ  ์œ ์—ฐ์„ฑ์žˆ๋Š” ๋ชจ์–‘์œผ๋กœ ๋ฐ”๊ฟ€ ์ˆ˜ ์žˆ์–ด์š”.
08:30
you can change the elasticity, the fluidity of the form.
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08:35
This is an idea for a gas-injected, one-piece polymer chair.
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์ด๊ฒƒ์€ ๊ฐ€์Šค๋ฅผ ์ฃผ์ž… ์•„์ด๋””์–ด๋กœ ๋งŒ๋“  ํ•œ ์กฐ๊ฐ์˜ ํด๋ฆฌ๋จธ ์˜์ž์ž…๋‹ˆ๋‹ค.
08:38
What nature does is it drills holes in things.
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์ž์—ฐ์€ ์—ฌ๊ธฐ์—๋‹ค๊ฐ€ ๊ตฌ๋ฉ์„ ๋šซ์–ด์š”. ์ด๊ฒƒ์ด ๋ชจ์–‘์„ ์ž์œ ๋กญ๊ฒŒ ๋งŒ๋“ค์–ด ์ฃผ์ฃ .
08:41
It liberates form.
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08:42
It takes away anything extraneous.
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์™ธ๋ถ€์—์„œ ๋ฐ›๋Š” ์–ด๋– ํ•œ ์ž๊ทน์ด๋ผ๋„ ๋Œ์–ด๋ƒ…๋‹ˆ๋‹ค. ๊ทธ๊ฒƒ์ด ์ œ๊ฐ€ ํ•˜๋Š” ์ผ์ž…๋‹ˆ๋‹ค.
08:44
That's what I do.
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08:46
I make organic things which are essential.
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์ €๋Š” ์ž์—ฐ์ ์ธ๊ฒƒ์„ ๋งŒ๋“ค์–ด ๋‚ด๋ฉฐ ๊ทธ๊ฒƒ์€ ํ•„์ˆ˜์ ์ธ ์ž‘์—…์ž…๋‹ˆ๋‹ค.
08:48
And they look funky, too -- but I don't set out to make funky things
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์ œ๋ฒ• ํŽ‘ํ‚คํ•ด ๋ณด์ž…๋‹ˆ๋‹ค๋งŒ
์ œ ์ƒ๊ฐ์— ๊ทธ๊ฑด ํ™•์‹คํžˆ ์น˜์š•์ ์ธ ์ผ์ด๋ฏ€๋กœ ์ „ ์ ˆ๋Œ€ ์ด๋Ÿฐ ๊ฒƒ๋“ค์„ ๋งŒ๋“ค์–ด ๋‚ผ ์ˆ˜ ์—†์–ด์š”.
08:52
because I think that's an absolute disgrace.
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08:54
I set out to look at natural forms.
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์ €๋Š” ์ž์—ฐ์ ์ธ ํ˜•์ƒ๋ฌผ๋งŒ์„ ๋งŒ๋“ค์–ด ๋ƒ…๋‹ˆ๋‹ค.
08:56
If you took the idea of fractal technology further, take a membrane,
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๋งŒ์ผ ๋จผ ๋ฏธ๋ž˜์˜ ํ”„๋ ‰ํƒˆ ๊ธฐ์ˆ  ์•„์ด๋””์–ด๋‚˜, ์–‡์€ ๋ง‰ ์กฐ์ง,
09:00
shrinking it down constantly like nature does --
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์ž์—ฐ์ด ํ•˜๋Š” ๊ฒƒ ์ฒ˜๋Ÿผ ๋Š์ž„์—†์ด ์ˆ˜์ถ•ํ•  ์ˆ˜ ์žˆ๋‹ค๋ฉด :
09:03
that could be a seat for a chair.
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์˜์ž๋กœ ์•‰์„ ์ˆ˜ ์žˆ์Šต๋‹ˆ๋‹ค
09:05
It could be a sole for a sports shoe.
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์ด๊ฒƒ์€ ์Šคํฌ์ธ  ์Šˆ์ฆˆ์— ์œ ์ผํ•˜๊ฒŒ ์‚ฌ์šฉ๋˜๋ฉฐ,
09:07
It could be a car blending into seats.
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์ด๊ฒƒ์€ ์ฐจ์˜ ์‹œํŠธ์— ์‚ฌ์šฉ๋ฉ๋‹ˆ๋‹ค.
09:09
Wow. Let's go for it. That's the kind of stuff.
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์™€์šฐ, ์ด ๋…€์„์œผ๋กœ ๊ฐ€๋ด…์‹œ๋‹ค. ์ด๊ฒƒ์€ ์žฌ๋ฃŒ ์ค‘ ํ•˜๋‚˜์ž…๋‹ˆ๋‹ค.
09:12
This is what exists in nature.
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์ด๊ฒƒ์€ ์ž์—ฐ์ด ๋งŒ๋“ค์–ด ๋‚ธ ๊ฒƒ์ž…๋‹ˆ๋‹ค.
09:14
Observation now allows us to bring that natural process
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๋งค์ผ์˜ ๋””์ž์ธ ํ”„๋กœ์„ธ์Šค๋ฅผ ์ž์—ฐ์  ๊ณผ์ •๊ณผ ํ•จ๊ป˜ ๋‚˜์•„๊ฐ€๋ฉฐ, ๊ทธ๊ฒƒ์„ ๊ด€์ฐฐํ•  ์ˆ˜ ์žˆ๋„๋ก ํ—ˆ๋ฝํ•ฉ๋‹ˆ๋‹ค. ๊ทธ๊ฒƒ์ด ์ œ๊ฐ€ ํ•˜๋Š” ์ผ์ž…๋‹ˆ๋‹ค.
09:19
into the design process every day.
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09:21
That's what I do.
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09:22
This is a show that's currently on in Tokyo.
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์ด๊ฒƒ์€ ์ตœ๊ทผ ๋„์ฟ„์—์„œ ์žˆ์—ˆ๋˜ ์‡ผ ์ž…๋‹ˆ๋‹ค.
09:24
It's called "Superliquidity." It's my sculptural investigation.
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์ด๊ฒƒ์€ Superliquidity๋ผ๊ณ  ๋ถˆ๋ฆฝ๋‹ˆ๋‹ค. ์ด๊ฑด ์ €์˜ ์กฐ๊ฐ ์—ฐ๊ตฌ์ž…๋‹ˆ๋‹ค.
09:28
It's like 21st-century Henry Moore.
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์ด๊ฒƒ์€ ๋งˆ์น˜ 21์„ธ๊ธฐ์˜ ํ—จ๋ฆฌ๋ฌด์–ด์™€ ๊ฐ™์Šต๋‹ˆ๋‹ค. ์•„์ง๋„ ์—ฌ๋Ÿฌ๋ถ„์ด ํ—จ๋ฆฌ๋ฌด์–ด๋ฅผ ๋ณผ๋•Œ,
09:31
When you see a Henry Moore, still, your hair stands up.
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์—ฌ๋Ÿฌ๋ถ„์€ ๋จธ๋ฆฌ๊ฐ€ ์ญˆ๋ผ›์ญˆ๋ผ› ์„ค ๊ฒ๋‹ˆ๋‹ค. ๊ทธ๊ฒƒ์€ ๋†€๋ผ์šด ์˜์  ๊ต๊ฐ์ž…๋‹ˆ๋‹ค.
09:35
There's some amazing spiritual connect.
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09:37
If he was a car designer, phew, we'd all be driving one.
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๋งŒ์ผ ์—ฌ๋Ÿฌ๋ถ„์ด, ์ž๋™์ฐจ ๋””์ž์ด๋„ˆ๋ผ๋ฉด, ์ฐธ!, ์šฐ๋ฆฌ ๋ชจ๋‘ ์ด๊ฑธ ์šด์ „ํ•˜๊ธฐ ์›ํ• ๊ฒ๋‹ˆ๋‹ค.
09:41
In his day, he was the highest taxpayer in Britain.
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๊ทธ ์‹œ์ ˆ, ๊ทธ๋Š” ์˜๊ตญ์—์„œ ๊ฐ€์žฅ ๋†’์€ ๋‚ฉ์„ธ์ž์˜€์Šต๋‹ˆ๋‹ค.
09:44
That is the power of organic design.
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๊ทธ๊ฒƒ์ด ์ž์—ฐ์ฃผ์˜ ๋””์ž์ธ์˜ ํž˜์ž…๋‹ˆ๋‹ค.
09:46
It contributes immensely to our --
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์ด๊ฒƒ์€ ๋ง‰์—ฐํžˆ ๋‚˜๋ˆ•๋‹ˆ๋‹ค. ์กด์žฌํ•˜๋Š” ๊ฒƒ๋“ค์— ๋Œ€ํ•œ ์šฐ๋ฆฌ๋“ค์˜ ์˜์‹,
09:51
sense of being,
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09:53
our sense of relationships with things,
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๊ด€๊ณ„์™€ ๊ด€๋ จ๋œ ๊ฒƒ๋“ค์— ๋Œ€ํ•œ ์ƒ๊ฐ,
09:55
our sensuality and, you know, the sort of --
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์šฐ๋ฆฌ์˜ ๊ด€๋Šฅ์„ฑ ๊ทธ๋ฆฌ๊ณ ,
09:57
even the sort of socio-erotic side, which is very important.
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์‚ฌํšŒ์  ๊ด€๋Šฅ์˜ ์ธก๋ฉด์„ ๋ง‰์—ฐํžˆ ๋‚˜๋ˆ•๋‹ˆ๋‹ค.
10:01
This is my artwork. This is all my process.
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์ด๊ฒƒ์€ ์ €์˜ ์˜ˆ์ˆ ์ž‘ํ’ˆ์ž…๋‹ˆ๋‹ค. ์ด๊ฒƒ์€ ๋ชจ๋“  ์ €์˜ ๊ณผ์ •์ž…๋‹ˆ๋‹ค.
10:03
These actually are sold as artwork. They're very big prints.
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์ด๊ฒƒ์€ ์‹ค์ œ๋กœ ์ œ๊ฐ€ ํŒ๋งคํ–ˆ๋˜ ์˜ˆ์ˆ ์ž‘ํ’ˆ ์ž…๋‹ˆ๋‹ค.
๊ทธ๊ฒƒ์€ ๋งค์šฐ ํฐ ํ”„๋ฆฐํŠธ๋ฌผ์ด์—์š”. ์–ด๋–ป๊ฒŒ ์ œ๊ฐ€ ์ด ๋ฌผ๊ฑด์„ ๊ฐ–๊ฒŒ ๋˜์—ˆ์„๊นŒ์š”.
10:07
But this is how I get to that object.
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10:10
Ironically, that object was made by the Killarney process,
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์–„๊ถ‚๊ฒŒ๋„, ์ด ๋ฌผ๊ฑด์€ ํ‚ฌ๋ผ๋‹ˆ(Killarney) ๊ณต์ •์œผ๋กœ ๋งŒ๋“ค์–ด ์กŒ์œผ๋ฉฐ
10:13
which is a brand-new process here for the 21st century,
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์ด๊ฒƒ์€ 21์„ธ๊ธฐ์˜ ์ƒˆ๋กœ์šด ๋ธŒ๋žœ๋“œ ๊ณต์ •์ด๊ณ ,
10:16
and I can hear Greg Lynn laughing his socks off as I say that.
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์ œ๊ฐ€ ๊ทธ๊ฒƒ์— ๋Œ€ํ•ด ๋งํ•  ๋•Œ, Greg Lynn์˜ ์›ƒ์Œ์„ ํ™•์‹คํžˆ ๋“ค์„ ์ˆ˜ ์žˆ์Šต๋‹ˆ๋‹ค.
10:19
I'll tell you about that later.
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์ œ๊ฐ€ ์ด๊ฑด ๋‚˜์ค‘์— ๋ง์”€๋“œ๋ฆฌ์ฃ .
10:21
When I look into these data images,
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์ œ๊ฐ€ ์ด ์ด๋ฏธ์ง€๋ฅผ ๋ดค์„ ๋•Œ, ์ƒˆ๋กœ์šด ๊ฒƒ์ด ๋– ์˜ฌ๋ž์–ด์š”.
10:24
I see new things.
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10:26
It's self-inspired.
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์ œ ์Šค์Šค๋กœ - ์Šค์Šค๋กœ์—๊ฒŒ ์˜๊ฐ์„ ๋ถˆ์–ด๋„ฃ์—ˆ์Šต๋‹ˆ๋‹ค. 2์ฐจ์›์ ์ธ ๊ตฌ์กฐ๋ฌผ.
10:29
Diatomic structures, radiolaria,
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10:31
the things that we couldn't see but we can do now --
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๊ทธ๊ฒƒ์„ ์šฐ๋ฆฌ๊ฐ€ ๋ณผ ์ˆ˜๋Š” ์—†์ง€๋งŒ, ์šฐ๋ฆฌ๊ฐ€ ์ง€๊ธˆ ํ•  ์ˆ˜๋Š” ์žˆ์Šต๋‹ˆ๋‹ค.
10:33
these, again, are cored out.
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๊ทธ๊ฒƒ์˜ ๋ฐ˜๋ณต์€ ์†์˜ ์‘์–ด๋ฆฌ๋ฅผ ์—†์• ๋Š” ๊ฒƒ์ž…๋‹ˆ๋‹ค. ๊ทธ๊ฒƒ์€ ์‚ฌ์‹ค์ƒ ๋ฌดํ˜•์—์„œ ๋งŒ๋“ค์–ด์ง„ ๊ฒƒ์ž…๋‹ˆ๋‹ค.
10:34
They're made virtually from nothing. They're made from silica.
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๊ทธ๊ฒƒ์€ ์ด์‚ฐํ™” ๊ทœ์†Œ๋กœ ๋งŒ๋“ค์–ด์กŒ์Šต๋‹ˆ๋‹ค. ์ฐจ์™€ ๊ฐ™์€ ๊ฒƒ๋“ค์€ ์™œ ์ด๋Ÿฐ ๊ตฌ์กฐ๋ฌผ์ด ์•„๋‹Œ๊ฑธ๊นŒ์š”?
10:38
Why not structures from cars like that?
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10:40
Coral, all these natural forces,
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์‚ฐํ˜ธ์™€ ๊ฐ™์ด ๋ชจ๋“  ๊ฐ€๊ณต๋˜์ง€ ์•Š์€ ํž˜์€, ๊ทธ๋“ค์ด ํ•„์š”๋กœ ํ•˜์ง€ ์•Š๋Š”๊ฒƒ์„ ์ œ๊ฑฐํ•ด ์ค๋‹ˆ๋‹ค.
10:43
take away what they don't need and they deliver maximum beauty.
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๊ทธ๋ฆฌ๊ณ  ๊ทธ๋“ค์€, ์ตœ๊ณ ์˜ ์•„๋ฆ„๋‹ค์›€์„ ์„ ์‚ฌํ•ฉ๋‹ˆ๋‹ค.
10:48
We need to be in that realm.
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์šฐ๋ฆฌ๋“ค ์†์—๋Š” ์šฐ๋ฆฌ๊ฐ€ ํ•„์š”๋กœ ํ•˜๋Š” ์–ด๋– ํ•œ ์˜์—ญ์ด ์กด์žฌํ•ฉ๋‹ˆ๋‹ค. ์ €๋Š” ๊ทธ๋Ÿฐ ๊ฒƒ๋“ค์„ ์›ํ•ฉ๋‹ˆ๋‹ค
10:51
I want to do stuff like that.
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10:53
This is a new chair which should come on the market in September.
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์ด๊ฒƒ์€ 9์›”์— ์—ด๋ฆฐ ๋งˆ์ผ“์—์„œ ์ฃผ๋ชฉ์„ ๋ˆ ์ƒˆ๋กœ์šด ์˜์ž์ž…๋‹ˆ๋‹ค.
10:56
It's for a company called Moroso in Italy. It's a gas-injected polymer chair.
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์ด๊ฒƒ์€ Moroso๋ผ๋Š” ์ดํƒœ๋ฆฌ์˜ ํšŒ์‚ฌ์ž…๋‹ˆ๋‹ค.
์ด๊ฒƒ์€ ๊ฐ€์Šค๊ฐ€ ์ฃผ์ž…๋œ ํด๋ฆฌ๋จธ ์˜์ž์ž…๋‹ˆ๋‹ค.
11:00
Those holes you see there are very filtered-down,
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์—ฌ๋Ÿฌ๋ถ„์ด ๋ณด์‹œ๋‹ค์‹œํ”ผ ์ € ๊ตฌ๋ฉ๋“ค์€ ๋งค์šฐ ์ฐจ์ธฐ์ฐจ์ธฐ,
11:03
watered-down versions of the extremity of the diatomic structures.
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๋ฌฝ์–ด์ง„ ๊ทน๋„์˜ 2์ฐจ์›์  ๊ตฌ์กฐ์ž…๋‹ˆ๋‹ค.
11:07
It goes with the flow of the polymer and you'll see --
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์ด๊ฒƒ์€ ํ๋ฅด๋Š” ํด๋ฆฌ๋จธ๋กœ ๋˜์–ด์žˆ์œผ๋ฉฐ,
11:09
there's an image coming up right now that shows the full thing.
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๊ทธ๊ฒƒ์˜ ์ด๋ฏธ์ง€๋Š” ์ง€๊ธˆ ๋‹น์žฅ ๋ชจ๋“  ๊ฒƒ์„ ๋ณด์—ฌ์ค๋‹ˆ๋‹ค.
11:12
It's great to have companies in Italy who support this way of dreaming.
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์ด๊ฒƒ์€ ์ดํƒœ๋ฆฌ์— ์žˆ๋Š” ํ›Œ๋ฅญํ•œ ํšŒ์‚ฌ์ด๋ฉฐ, ๊ทธ๋“ค์€ ๊ฟˆ๋งŒ๊ฐ™์€ ์ด ๋ฐฉ์‹์— ๋Œ€ํ•ด ์ง€์›ํ•ด ์ฃผ์ง€์š”.
11:16
If you see the shadows that come through that,
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๋งŒ์ผ ์—ฌ๋Ÿฌ๋ถ„์ด ๊ทธ ์ œํ’ˆ์˜ ํž˜๋“  ์ธก๋ฉด์— ๋Œ€ํ•ด ์•Œ๊ฒŒ ๋œ๋‹ค๋ฉด,
11:18
they're actually probably more important than the product,
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๊ทธ๊ฒƒ์€ ์‚ฌ์‹ค์ƒ ์•„๋งˆ ์ œํ’ˆ ๋ณด๋‹ค ๋” ์ค‘์š”ํ•œ ์‚ฌํ•ญ์ผ ๊ฒƒ์ž…๋‹ˆ๋‹ค.
11:21
but it's the minimum it takes.
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๊ทธ๊ฒƒ์€ ๋ฐ”๋กœ ๊ทธ๋“ค์ด ํ•  ์ˆ˜ ์žˆ๋Š” ์ตœ์†Œ ์ˆ˜๋Ÿ‰์ด์ง€์š”.
11:23
The coring out of the back lets you breathe.
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์‘์–ด๋ฆฌ๊ฐ€ ๋น ์ ธ๋‚˜๊ฐ„ ๋’ค์—์•ผ ์ˆจ์„ ์‰ด ์ˆ˜๊ฐ€ ์žˆ์Šต๋‹ˆ๋‹ค.
11:25
It takes away any material you don't need
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์ด๊ฒƒ์€ ํ•„์š”์—†๋Š” ์–ด๋–ค ์žฌ๋ฃŒ๋“ค์„ ์ œ๊ฑฐํ•ด์ฃผ๋ฉฐ,
11:27
and it actually garners flexure too.
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์‚ฌ์‹ค์ƒ ์ฃผ๋ฆ„์„ ๋งŽ์ด ๋งŒ๋“ค์–ด ๋ƒ…๋‹ˆ๋‹ค. ๋˜ํ•œ-
11:31
I was going to break into a dance then.
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์ œ๊ฐ€ ์ถค์„ ์ถ”๋„๋ก ๋งŒ๋“ค์—ˆ์Šต๋‹ˆ๋‹ค.
11:34
This is some current work I'm doing.
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์ด๊ฒƒ์€ ์ œ๊ฐ€ ํ•˜๊ณ  ์žˆ๋Š” ๋ช‡๋ช‡ ์ตœ๊ทผ์˜ ์ž‘์—…์ž…๋‹ˆ๋‹ค.
11:36
I'm looking at single-surface structures
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์ €๋Š” ๋‹จ๋… ๋ฉด์œผ๋กœ ๋œ ๊ตฌ์กฐ๋ฌผ์„ ๋ณด๊ณ ์žˆ์œผ๋ฉฐ, ์–ด๋–ป๊ฒŒ ๊ทธ๊ฒƒ๋“ค์ด ๋– ๋‹ค๋‹ˆ๋Š”์ง€--
11:38
and how they stretch and flow.
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์–ด๋–ป๊ฒŒ ๊ทธ๋“ค์ด ํŽผ์ณ์ง€๊ณ , ๋– ๋‹ค๋‹ˆ๋Š”์ง€. ์ด๊ฒƒ์€ ๊ฐ€๊ตฌ ์œ ํ˜•ํ•™์„ ๊ธฐ์ดˆ๋กœ ํ•˜๊ณ  ์žˆ์Šต๋‹ˆ๋‹ค.
11:41
It's based on furniture typologies, but that's not the end motivation.
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์ด๊ฒƒ์ด ๋™๊ธฐ๋ถ€์—ฌ์˜ ๋์ด ์•„๋‹™๋‹ˆ๋‹ค. ์ด๊ฒƒ์€ ์•Œ๋ฃจ๋ฏธ๋Š„์œผ๋กœ ๋งŒ๋“ค์–ด์กŒ์œผ๋ฉฐ,
11:47
It's made from aluminum ...
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11:49
as opposed to aluminium, and it's grown.
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๋™์‹œ์—,์•Œ๋ฃจ๋ฏธ๋Š„๊ณผ ๋Œ€๋ฆฝํ•˜๊ณ  ์žˆ์Šต๋‹ˆ๋‹ค. ๊ทธ๋ฆฌ๊ณ  ์ด๊ฒƒ์€ ๋˜ํ•œ ์„ฑ์žฅํ–ˆ์ฃ .
11:53
It's grown in my mind,
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์ด๊ฒƒ์€ ์ œ ๋งˆ์Œ์†์—์„œ ์ž๋ผ๋‚ฌ์œผ๋ฉฐ, ์ด๊ฒƒ์€ ์ œ๊ฐ€ ํ–‰ํ•˜๋Š”
11:54
and then it's grown in terms of the whole process that I go through.
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๋ชจ๋“  ์ง„ํ–‰๊ณผ์ •์— ์˜ํ•ด์„œ ์„ฑ์žฅํ–ˆ์Šต๋‹ˆ๋‹ค.
11:58
This is two weeks ago in CCP in Coventry, who build parts for Bentleys and so on.
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์ด๊ฒƒ์€ 2์ฃผ ์ „์ฏค Coventry์˜ CCP์—์„œ, ๋ˆ„๊ตฐ๊ฐ€ ์„ธ์šด๊ฒ๋‹ˆ๋‹ค. Bentleys์™€ ๊ทธ ๋ฐ–์— ๋ถ€๋ถ„๋“ค์— ๊ด€ํ•ด์„œ์š”.
12:03
It's being built as we speak
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์šฐ๋ฆฌ๊ฐ€ ๋งํ–ˆ๋“ฏ, ์ด๊ฒƒ์€ ๋งŒ๋“ค์–ด์ง€๊ณ  ์žˆ์œผ๋ฉฐ
12:05
and it will be on show in Phillips next year in New York.
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์ด๊ฒƒ์€ ๋‚ด๋…„, ๋‰ด์š• ํ•„๋ฆฝ์Šค์—์„œ ๋ณด์—ฌ์ค„ ๊ฒƒ์ž…๋‹ˆ๋‹ค.
12:08
I have a big show with Phillips Auctioneers.
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์ด๊ฒƒ์€ ํ•„๋ฆฝ์Šค ๊ฒฝ๋งค์ธ๋“ค์—๊ฒŒ๋„ ๋งค์šฐ ํฐ ํ–‰์‚ฌ์ž…๋‹ˆ๋‹ค.
12:11
When I see these animations, oh Jesus, I'm blown away.
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์ œ๊ฐ€ ์ด ์• ๋‹ˆ๋ฉ”์ด์…˜์„ ๋ณผ ๋•Œ, ์˜ค! ์‹ ์ด์‹œ์—ฌ.. ์ €๋Š” ์••๋„๋‹นํ–ˆ์Šต๋‹ˆ๋‹ค.
12:14
This is what goes on in my studio everyday.
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์ด ๋ฌด์–ธ๊ฐ€๋Š” ์ œ ์ŠคํŠœ๋””์˜ค์— ๋งค์ผ ์˜ต๋‹ˆ๋‹ค. ์ €๋Š” ๊ฑธ์–ด์š” - ์ €๋Š” ์—ฌํ–‰์ž์—์š”. ์ €๋Š” ๋Œ์•„์˜ต๋‹ˆ๋‹ค.
12:16
I walk -- I'm traveling. I come back.
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12:18
Some guy's got that on a computer -- there's this like, oh my goodness.
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์–ด๋–ค ์ง์›๋“ค์€ ์ด๊ฑธ ์ปดํ“จํ„ฐ๋กœ ๊ฐ€์กŒ์Šต๋‹ˆ๋‹ค - ๊ทธ๋“ค์ด ์ข‹์•„ํ•˜๋Š” ์ด๊ฒƒ..์˜ค! ์‹ ์ด์‹œ์–ด...
12:21
So I try to create this energy of invention every day in my studio.
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๊ทธ๋ž˜์„œ ์ €๋Š” ๋งค์ผ ์ œ ์ŠคํŠœ๋””์˜ค์—์„œ ๋ฐœ๋ช…์— ๊ด€ํ•œ ์—๋„ˆ์ง€๋“ค์„ ๋งŒ๋“ค์–ด ๋‚ด๋„๋ก ๋…ธ๋ ฅํ•ฉ๋‹ˆ๋‹ค.
12:25
This kind of effervescent --
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์ด๊ฒƒ์€ ๋งค์šฐ ํ™œ๊ธฐ๊ฐ€ ๋„˜์น˜๋Š”๊ฒƒ์œผ๋กœ, ์ „๋‹ฌ๋˜๋Š” ์•„์ด๋””์–ด์— ๊ด€ํ•œ ๊ฐ๊ฐ์ด ์ถฉ๋ถ„ํžˆ ์ฑ„์›Œ์กŒ์Šต๋‹ˆ๋‹ค.
12:27
fully charged sense of soup that delivers ideas.
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12:33
Single-surface products.
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ํ•œ ๋ฉด์œผ๋กœ ๋œ ์ œํ’ˆ๋“ค. ๊ฐ€๊ตฌ๊ฐ€ ์ข‹์€ ์˜ˆ์ž…๋‹ˆ๋‹ค.
12:35
Furniture's a good one.
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12:37
How you grow legs out of a surface.
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์–ด๋–ป๊ฒŒ ํ‘œ๋ฉด ๋ฐ–์— ๋‹ค๋ฆฌ๋ฅผ ๋งŒ๋“ค ๊ฒ๋‹ˆ๊นŒ?
12:39
I would love to build this one day
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์ €๋Š” ํ•˜๋ฃจ์•ˆ์— ๋‹ค๋ฆฌ๋ฅผ ๋งŒ๋“ค๊ธฐ๋ฅผ ์ข‹์•„ํ•ฉ๋‹ˆ๋‹ค. ๊ทธ๋ฆฌ๊ณ  ๋งŒ์ผ, ์ œ๊ฐ€ ๋ฐ€๊ฐ€๋ฃจ, ์„คํƒ•,
12:41
and perhaps I'd like to build it also out of flour, sugar,
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ํด๋ฆฌ๋จธ, ๋‚˜๋ฌด์กฐ๊ฐ ๋“ฑ์œผ๋กœ ๋งŒ๋“ค๊ธฐ๋ฅผ ์›ํ•œ๋‹ค๋ฉด..
12:44
polymer, wood chips -- I don't know, human hair.
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์ €๋Š” ๋ชจ๋ฅด๊ฒ ์Šต๋‹ˆ๋‹ค. ์ธ๊ฐ„์˜ ๋จธ๋ฆฟ์นด๋ฝ. ๋ชฐ๋ผ์š”! ์ €๋Š” ๊ทธ๊ฒƒ๋„ ์ข‹์Šต๋‹ˆ๋‹ค.
12:48
I don't know. I'd love a go at that. I don't know. If I just got some time.
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๋ชจ๋ฅด๊ฒ ์Šต๋‹ˆ๋‹ค๋งŒ, ๋งŒ์ผ ์ œ๊ฐ€ ์‹œ๊ฐ„์„ ์ข€ ๊ฐ€์งˆ์ˆ˜ ์žˆ์—ˆ๋‹ค๋ฉด,
12:51
That's the weird side coming out again. A lot of companies don't understand that.
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๊ทธ๊ฒƒ์€ ๊ธฐ๋ฌ˜ํ•œ ๋…€์„์ด ๋˜ํ•œ๋ฒˆ ํƒ„์ƒํ•˜๋Š” ๊ฒƒ์ž…๋‹ˆ๋‹ค.
๊ทธ๋ฆฌ๊ณ  ๋งŽ์€ ํšŒ์‚ฌ๋“ค์ด ์ด๊ฒƒ์„ ์ œ๋Œ€๋กœ ์ดํ•ดํ•˜์ง€ ๋ชปํ• ๊ฒ๋‹ˆ๋‹ค.
12:55
Three weeks ago I was with Sony in Tokyo.
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3์ฃผ์ „, ์ €๋Š” ๋„์ฟ„์— ์žˆ๋Š” ์†Œ๋‹ˆ์™€ ํ•จ๊ป˜ํ–ˆ์Šต๋‹ˆ๋‹ค. ๊ทธ๋“ค์€ ๊ทธ๊ฒƒ์„ "์šฐ๋ฆฌ์—๊ฒŒ ๊ฟˆ์„ ์ฃผ๋‹ค" ๋ผ๊ณ  ๋ถˆ๋ €์ฃ .
12:58
They said, "Give us the dream. What is our dream? How do we beat Apple?"
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"์šฐ๋ฆฌ์˜ ๊ฟˆ์ด ๋ฌด์—ˆ์ž…๋‹ˆ๊นŒ? ์–ด๋–ป๊ฒŒ ์šฐ๋ฆฌ๋Š” ์• ํ”Œ์‚ฌ๋ฅผ ์ด๊ธธ๊นŒ์š”?"
13:01
I said, "You don't copy Apple, that's for sure.
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์ €๋Š” ๋Œ€๋‹ตํ–ˆ์Šต๋‹ˆ๋‹ค. "์Œ.. ๋‹น์‹ ์€ ์• ํ”Œ์ฒ˜๋Ÿผ ๋˜‘๊ฐ™์ด ๋งŒ๋“ค์ง€ ๋ชปํ•ฉ๋‹ˆ๋‹ค. ํ™•์‹คํ•ฉ๋‹ˆ๋‹ค."
์ €๋Š” ๋งํ–ˆ์Šต๋‹ˆ๋‹ค. "๋‹น์‹ ์€ ๋ฐ”์ด์˜ค ๊ณ ๋ถ„์ž ๋ฌผ์งˆ์„ ๊ฐ€์ง€๊ณ  ์žˆ์Šต๋‹ˆ๋‹ค." ๊ทธ๋“ค์€ ์ €๋ฅผ ๋˜‘๋ฐ”๋กœ ์ณ๋‹ค๋ดค์Šต๋‹ˆ๋‹ค.
13:04
You get into biopolymers."
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13:05
They looked straight through me.
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13:07
What a waste. Anyway.
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๋ฌด์—‡์„ ๋†“์ณค์Šต๋‹ˆ๊นŒ! ์–ด์จŒ๋“ ..
13:09
(Laughter)
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13:11
No, it's true. Fuck them. You know, I mean --
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์ด๊ฒƒ์€ ์‚ฌ์‹ค์ž…๋‹ˆ๋‹ค. ์  ์žฅ,์  ์žฅ,. ์•Œ๋‹ค์‹œํ”ผ ์ œ๋ง์€.
13:14
(Laughter)
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(์›ƒ์Œ)
13:15
I'm delivering; they're not taking.
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์ œ๊ฐ€ ๊ฐ€์ ธ๋‹ค ์คฌ์Šต๋‹ˆ๋‹ค. ๊ทธ๋“ค์€ ์žก์งˆ ๋ชปํ–ˆ์ฃ . ์ œ๊ฐ€ ์ด ๊ทธ๋ฆผ์„ ๊ฐ€์ง€๋Š”๋ฐ 20๋…„์ด ๊ฑธ๋ ธ์–ด์š”.
13:17
I've had this image 20 years.
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13:19
I've had this image of a water droplet for 20 years, sitting on a hot bed.
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์ €๋Š” ์ž‘์€ ๋ฌผ๋ฐฉ์šธ์˜ ์ด ์ด๋ฏธ์ง€๋ฅผ 20๋…„ ๋™์•ˆ ๋œจ๊ฑฐ์šด ์นจ๋Œ€์œ„์— ๋†“์•„๋‘์—ˆ์—ˆ์Šต๋‹ˆ๋‹ค.
13:23
That is an image of a car for me.
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์ด๊ฒƒ์€ ์ €๋ฅผ์œ„ํ•œ ์ž๋™์ฐจ ๊ทธ๋ฆผ์ž…๋‹ˆ๋‹ค.
13:24
That's the car of the future. It's a water droplet.
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์ด๊ฑด ๋ฏธ๋ž˜์˜ ์ฐจ์—์š”. ์ž‘์€ ๋ฌผ๋ฐฉ์šธ ๋ชจ์–‘์ด์ฃ .
13:27
I've been banging on about this like I can't believe.
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์ด๊ฒƒ์ด ์พ… ํ•˜๊ณ  ๋‹ซํžŒ๋‹ค๋Š”๊ฑธ ์ „ ๋ฏฟ์„์ˆ˜๊ฐ€ ์—†๊ตฐ์š”.
13:29
Cars are all wrong.
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์ฐจ๋Š” ๋ชจ๋“ ๊ฒŒ ์ž˜๋ชป๋˜์—ˆ์–ด์š”.
13:31
I'm going to show you something a bit weird now.
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์ €๋Š” ์—ฌ๋Ÿฌ๋ถ„๊ป˜ ๊ธฐ๋ฌ˜ํ•œ ์–ด๋–ค๊ฒƒ์„ ๋ณด์—ฌ์ฃผ๊ณ ์ž ํ•ฉ๋‹ˆ๋‹ค.
13:33
They laughed everywhere over the world I showed this.
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์ œ๊ฐ€ ์ด๊ฒƒ์„ ๋ณด์—ฌ์ฃผ์—ˆ์„ ๋•Œ, ๋ชจ๋“  ์„ธ์ƒ ์‚ฌ๋žŒ๋“ค์ด ์›ƒ์—ˆ์Šต๋‹ˆ๋‹ค.
13:35
The only place that didn't laugh was Moscow.
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์˜ค์ง ๋ชจ์Šคํฌ๋ฐ”์—์„œ๋งŒ ์›ƒ์Œ๊ฑฐ๋ฆฌ๊ฐ€ ๋˜์ง€ ์•Š์•˜์Šต๋‹ˆ๋‹ค.
์ด ์ฐจ๋Š” 30,000๊ฐœ์˜ ๋ถ€ํ’ˆ์œผ๋กœ ์ด๋ฃจ์–ด์ ธ ์žˆ์Šต๋‹ˆ๋‹ค.
13:38
Cars are made from 30,000 components.
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13:39
How ridiculous is that? Couldn't you make that from 300?
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์–ผ๋งˆ๋‚˜ ํ„ฐ๋ฌด๋‹ˆ์—†๋Š” ์ผ์ž…๋‹ˆ๊นŒ? 300๊ฐœ๋ฅผ ๊ฐ€์ง€๊ณ  ๋งŒ๋“ค ์ˆ˜๋Š” ์—†์„๊นŒ์š”?
13:45
It's got a vacuum-formed, carbon-nylon pan.
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์ด๊ฒƒ์€ ์ง„๊ณต ํ˜•ํƒœ์˜ ์นด๋ณธ-๋‚˜์ผ๋ก  ํŒฌ์ž…๋‹ˆ๋‹ค. ๋ชจ๋“ ๊ฒƒ๋“ค์€ ์ „์ฒด๊ฐ€ ํ•˜๋‚˜๋กœ ํ†ตํ•ฉ๋˜์–ด ์žˆ์Šต๋‹ˆ๋‹ค.
13:48
Everything's holistically integrated. It opens and closes like a bread bin.
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์ด๊ฒƒ์˜ ์—ด๊ณ  ๋‹ซ์Œ์€ ๋งˆ์น˜ ๋นต ์ƒ์ž๊ฐ™์Šต๋‹ˆ๋‹ค.
13:52
There is no engine. There's a solar panel on the back
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๊ทธ๋“ค์€ ์—”์ง„๋„ ์—†์Šต๋‹ˆ๋‹ค. ๊ทธ๊ฒƒ์€ ๋’ท๋ถ€๋ถ„์— ํƒœ์–‘์—ด ํŒ์ด ์žˆ์–ด์š”.
13:54
and there are batteries in the wheels; they're fitted like Formula 1.
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๊ทธ๋ฆฌ๊ณ  ํœ  ์•ˆ์ชฝ์— ๋ฒ ํ„ฐ๋ฆฌ๊ฐ€ ์žˆ์Šต๋‹ˆ๋‹ค.
๊ทธ๋“ค์€ ํฌ๋ฎฌ๋Ÿฌ ์›์ฒ˜๋Ÿผ ๋งž์ถฐ์ ธ ์žˆ์Šต๋‹ˆ๋‹ค. ๋ฒฝ์—์„œ ๋–ผ๋ƒ…๋‹ˆ๋‹ค
13:58
You take them off your wall, you plug them in. Off you go.
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ํ”Œ๋Ÿฌ๊ทธ๋ฅผ ๊ฝ‚๊ตฌ์š”. ๋–จ์–ด์ ธ์„œ ๋…€์„์ด ๊ฐ€๋Š”๊ฒƒ์„ ์ฆ๊ธธ ์ˆ˜ ์žˆ์Šต๋‹ˆ๋‹ค.
14:00
A three-wheeled car: slow, feminine,
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์„ธ๊ฐœ์˜ ํœ ๋กœ ๋œ ์ฐจ : ์ฒœ์ฒœํžˆ, ์—ฌ์„ฑ์Šค๋Ÿฝ๊ฒŒ, ํˆฌ๋ช…ํ•˜๊ฒŒ.
14:03
transparent, so you can see the people in there.
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๋‹น์‹ ์€ ์‚ฌ๋žŒ๋“ค์ด ์ด ์•ˆ์— ์žˆ๋Š”๊ฒƒ์„ ๋ณผ ์ˆ˜ ์žˆ์Šต๋‹ˆ๋‹ค. ๋‹น์‹ ์˜ ์šด์ „์€ ์ƒ‰๋‹ค๋ฆ…๋‹ˆ๋‹ค.
14:05
You drive different.
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(์›ƒ์Œ)
14:07
You see that thing. You do. You do.
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๋‹น์‹ ์€ ๋ณผ ์ˆ˜ ์žˆ๊ณ . ๋‹น์‹ ์€ ํ•  ์ˆ˜ ์žˆ์Šต๋‹ˆ๋‹ค.
14:09
And not anesthetized, separated from life.
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๊ฐˆ ์ˆ˜๋Š” ์žˆ์ง€๋งŒ, ๋ฉˆ์ถœ์ˆ˜๋Š” ์—†์Šต๋‹ˆ๋‹ค. ์‚ถ์œผ๋กœ ๋ถ€ํ„ฐ ๋ถ„๋ฆฌ๋ฉ๋‹ˆ๋‹ค.
14:12
There's a hole at the front and there's a reason for that.
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๊ทธ๊ฒƒ์€ ์•ž๋ถ€๋ถ„์˜ ๊ตฌ๋ฉ์ด๊ณ , ๊ทธ๊ฒƒ์ด ๋ฐ”๋กœ ๊ทธ ์ด์œ ์ž…๋‹ˆ๋‹ค.
14:15
It's a city car. You drive along. You get out.
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์ด๊ฒƒ์€ ๋„์‹œ์˜ ์ฐจ ์ž…๋‹ˆ๋‹ค. ๋‹น์‹ ์€ ํ˜ผ์ž์„œ ์šด์ „ํ•ฉ๋‹ˆ๋‹ค. ๋‹น์‹ ์€ ๋ฐ–์— ์žˆ์Šต๋‹ˆ๋‹ค.
14:19
You drive on to a proboscis. You get out.
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๋‹น์‹ ์€ ์ฝ” ์ชฝ์œผ๋กœ๋„ ์šด์ „์ด ๊ฐ€๋Šฅํ•ฉ๋‹ˆ๋‹ค. ๋‹น์‹ ์€ ๋ฐ–์— ์žˆ์Šต๋‹ˆ๋‹ค. ์ด๊ฒƒ์€ ๋‹น์‹ ์„ ์œ„๋กœ๋„ ๋“ค์–ด ์˜ฌ๋ฆฝ๋‹ˆ๋‹ค.
14:22
It lifts you up.
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14:24
It presents the solar panel to the sun, and at night, it's a street lamp.
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์ด๊ฒƒ์€ ํ˜„์žฌ ํƒœ์–‘์—ด ํŒ์œผ๋กœ ๋˜์–ด์žˆ๊ณ 
๋ฐค์—๋Š” ๊ฑฐ๋ฆฌ์˜ ๊ฐ€๋กœ๋“ฑ์ด๊ธฐ๋„ ํ•ฉ๋‹ˆ๋‹ค.
14:27
(Applause)
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(๋ฐ•์ˆ˜)
14:31
That's what happens if you get inspired by the street lamp first,
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๋งŒ์ผ ๋‹น์‹ ์ด ๊ธธ๊ฑฐ๋ฆฌ์˜ ๊ฐ€๋กœ๋“ฑ ๊ธฐ๋Šฅ์— ๋จผ์ € ์˜๊ฐ์„ ๋ถˆ์–ด๋„ฃ์–ด ์ค€๋‹ค๋ฉด,
14:34
and do the car second.
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์ž๋™์ฐจ๋กœ์จ๋Š” ๋‘๋ฒˆ์งธ ์ž…๋‹ˆ๋‹ค. ์ด ๊ฑฐํ’ˆ๋“ค--
14:36
I can see these bubbles with these hydrogen packages,
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์ €๋Š” ์ด ๊ฑฐํ’ˆ๋“ค์„ ๊ทธ๊ฒƒ๋“ค์˜ ํ• ๋กœ๊ฒ ํŒจํ‚ค์ง€์™€ ํ•จ๊ป˜ ๋ณผ ์ˆ˜ ์žˆ์œผ๋ฉฐ,
14:38
floating around on the ground, driven by AI.
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AI์— ์˜ํ•ด ์ง€๋ฉด์„ ๋– ๋‹ค๋‹ˆ๊ฒŒ ํ•  ์ˆ˜ ์žˆ์Šต๋‹ˆ๋‹ค.
14:43
When I showed this in South Africa,
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์ œ๊ฐ€ ๋‚จ ์•„ํ”„๋ฆฌ์นด์—์„œ ์ด๊ฒƒ์„ ๋ณด๊ฒŒ๋˜์—ˆ์„ ๋•Œ,
14:45
everybody afterwards was going, "Hey, car on a stick. Like this."
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๋ชจ๋‘๊ฐ€ ๊ฐ€๊ณ ๋‚œ ๋’ค์˜€์Šต๋‹ˆ๋‹ค."์˜ˆ, ํ—ค์ด, ์ฐจ๊ฐ€ ์Šคํ‹ฑ์œ„์— ์žˆ์–ด์š”. ์ด๊ฒƒ์ฒ˜๋Ÿผ."
14:48
Can you imagine? A car on a stick.
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์ƒ์ƒ์ด ๊ฐ€์š”? ์ฐจ๊ฐ€ ์Šคํ‹ฑ์œ„์— ์žˆ์–ด์š”.
14:50
(Laughter)
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14:51
If you put it next to contemporary architecture,
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๋งŒ์ผ ๋‹น์‹ ์ด ์ด๊ฒƒ์„ ๋™์‹œ๋Œ€์˜ ๊ฑด์ถ•์ˆ ๋กœ ๋งŒ๋“ ๋‹ค๋ฉด,
14:54
it feels totally natural to me.
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์ด๊ฒƒ์€ ์•„์ฃผ ์ž์—ฐ์ ์ธ ๋Š๋‚Œ์ผ ๊ฒ๋‹ˆ๋‹ค.
14:55
And that's what I do with my furniture.
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๊ทธ๋ฆฌ๊ณ , ๊ทธ๊ฒƒ์€ ์ œ๊ฐ€ ์ œ ๊ฐ€๊ตฌ์— ํ•ด์•ผ ํ•  ์ผ์ด๊ธฐ๋„ ํ•ฉ๋‹ˆ๋‹ค.
14:57
I'm not putting Charles Eames' furniture in buildings anymore.
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์ €๋Š” Charles Eames'์˜ ๊ฐ€๊ตฌ๋ฅผ ์–ด๋–ค ๊ณณ์—๋„ ๋†“์ง€ ์•Š์•˜์Šต๋‹ˆ๋‹ค.
๊ทธ๊ฒƒ์„ ์žŠ์—ˆ์Šต๋‹ˆ๋‹ค. ์šฐ๋ฆฌ๋Š” ์˜ฎ๊ฒผ์ฃ .
15:00
I'm trying to build furniture which fits architecture.
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์ €๋Š” ๊ฑด์ถ•ํ•™์— ๋งž๊ฒŒ ๊ฐ€๊ตฌ๋ฅผ ์„ค๊ณ„ํ•˜๋„๋ก ๋…ธ๋ ฅํ–ˆ์Šต๋‹ˆ๋‹ค.
15:03
I'm trying to build transportation systems.
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์ €๋Š” ์šด๋ฐ˜ ์‹œ์Šคํ…œ์„ ์„ค๊ณ„ํ•˜๊ธฐ ์œ„ํ•ด ๋…ธ๋ ฅํ–ˆ์Šต๋‹ˆ๋‹ค.
15:05
I work on aircraft for Airbus,
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์ €๋Š” ๋น„ํ–‰๊ธฐ ์ž‘์—…์„ ์œ„ํ•ด ์—์–ด๋ฒ„์Šค์—์„œ ์ผํ–ˆ์Šต๋‹ˆ๋‹ค. ๋ชจ๋“ ๊ฒƒ๋“ค -
15:07
I do all this sort of stuff
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์ €๋Š” ๋ชจ๋“  ์ข…๋ฅ˜์˜ ๋ถ€ํ’ˆ์„ ์ž์—ฐ์˜ ํž˜์—์„œ ์–ป์„ ์ˆ˜ ์žˆ๋„๋ก ๋…ธ๋ ฅํ–ˆ์œผ๋ฉฐ,
15:08
trying to force these natural, inspired-by-nature dreams home.
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์ž์—ฐ์†์˜ ๊ฟˆ์˜ ์ง‘์—์„œ ์˜๊ฐ์„ ์–ป์—ˆ์Šต๋‹ˆ๋‹ค. ์ €๋Š” ๋‘๊ฐ€์ง€์˜ ๊ฒƒ์„ ๋๋‚ด์•ผ ํ–ˆ์Šต๋‹ˆ๋‹ค.
15:12
I'm going to finish on two things.
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15:14
This is the stereolithography of a staircase.
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์ด๊ฒƒ์€ steriolithography์˜ ๊ณ„๋‹จ์ž…๋‹ˆ๋‹ค.
15:17
It's a little bit of a dedication to James, James Watson.
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์ด๊ฒƒ์€ ์ œ์ž„์Šค์—๊ฒŒ ์กฐ๊ธˆ ํ—Œ์ •ํ•˜๋Š” ๊ฒƒ์ž…๋‹ˆ๋‹ค. James Watson.
15:21
I built this thing for my studio.
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์ €๋Š” ์ด๊ฒƒ์„ ์ œ ์ŠคํŠœ๋””์˜ค์—์„œ ๋งŒ๋“ค์—ˆ์Šต๋‹ˆ๋‹ค.
15:23
It cost me 250,000 dollars to build this.
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์ด๊ฒƒ์„ ๋งŒ๋“œ๋Š”๋ฐ 250,000 ๋‹ฌ๋Ÿฌ๊ฐ€ ๋“ค์—ˆ๋„ค์š”.
15:26
Most people go and buy the Aston Martin.
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๋Œ€๋ถ€๋ถ„์˜ ์‚ฌ๋žŒ๋“ค์€ ๊ฐ€๊ณ , Aston Martin์„ ์‚ฝ๋‹ˆ๋‹ค. ์ €๋Š” ์ด๊ฒƒ์„ ๋งŒ๋“ค์—ˆ์Šต๋‹ˆ๋‹ค.
15:29
I built this.
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15:30
This is the data that goes with that. Incredibly complex.
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์ด๊ฒƒ์€ ๊ทธ๊ฒƒ๊ณผ ๊ด€๋ จ๋œ ์ž๋ฃŒ์ž…๋‹ˆ๋‹ค. ๋ฏฟ์„ ์ˆ˜ ์—†์„ ๋งŒํผ ๋ณต์žกํ•ฉ๋‹ˆ๋‹ค.
15:33
Took about two years, because I'm looking for fat-free design.
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๋‹ด๋ฐฑํ•œ ๋Š๋‚Œ์˜ ๋””์ž์ธ์„ ์ฐพ๊ธฐ ์œ„ํ•ด์„œ ์ด๊ฒƒ์€ 2๋…„์ด๋‚˜ ๊ฑธ๋ ธ์Šต๋‹ˆ๋‹ค.
15:37
Lean, efficient things. Healthy products.
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๊ฑฐํ’ˆ์„ ๋บ€ ๊ฒฝ์ œ์ ์ธ ๊ฒƒ๋“ค. ๊ฑด๊ฐ•ํ•œ ์ œํ’ˆ๋“ค.
15:42
This is built by composites.
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์ด๊ฒƒ์€ ํ•ฉ์„ฑ๋ฌผ๋กœ ์ด๋ฃจ์–ด์กŒ์–ด์š”.
15:43
It's a single element which rotates around to create a holistic element,
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์ด ๋‹จ๋… ๊ตฌ์„ฑ์š”์†Œ๋“ค์ด ๋‘ฅ๊ธ€๊ฒŒ ํšŒ์ „ํ•˜๋ฉด์„œ ์ „์ฒด์˜ ๊ตฌ์„ฑ์š”์†Œ๋ฅผ ๋งŒ๋“ค๊ตฌ์š”,
15:48
and this is a carbon-fiber handrail which is only supported in two places.
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์ด ์นด๋ณธ์„ฌ์œ  ๋‚œ๊ฐ„์ด
์œ ์ผํ•˜๊ฒŒ ๋‘ ๊ฐœ์˜ ๊ณต๊ฐ„์„ ๋ฐ›์น˜๊ณ  ์žˆ์Šต๋‹ˆ๋‹ค.
15:52
Modern materials allow us to do modern things.
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ํ˜„๋Œ€์˜ ์žฌ๋ฃŒ๋“ค์€ ์šฐ๋ฆฌ๊ฐ€ ํ˜„๋Œ€์ ์ธ ์–ด๋–ค๊ฒƒ์„ ๋งŒ๋“ค ์ˆ˜ ์žˆ๋„๋ก ํ•ด์ค๋‹ˆ๋‹ค.
15:54
This is a shot in the studio.
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์ด๊ฒƒ์€ ์ŠคํŠœ๋””์˜ค๋ฅผ ์ฉ๋‹ˆ๋‹ค.
15:56
This is how it looks pretty much every day.
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์ด๊ฒƒ์€ ๋งค์ผ ์–ผ๋งˆ๋‚˜ ์ด์˜๊ฒŒ ๋ณด์ด๋Š”์ง€ ์•„์‹ญ๋‹ˆ๊นŒ!
15:59
You wouldn't want to have a fear of heights coming down it.
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์—ฌ๋Ÿฌ๋ถ„์€ ์ € ๋†’์€ ๊ณณ์—์„œ ๋‚ด๋ ค์™€์•ผ ํ•˜๋Š” ๋‘๋ ค์›€์— ์ด๊ฒƒ์„ ์›์น˜ ์•Š์„์ง€๋„ ๋ชจ๋ฆ…๋‹ˆ๋‹ค.
16:01
There is virtually no handrail. It doesn't pass any standards.
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์ €๊ฒƒ์€ ์‚ฌ์‹ค ๋‚œ๊ฐ„์ด ์•„๋‹™๋‹ˆ๋‹ค. ์ด๊ฒƒ์€ ์–ด๋–ค ๊ธฐ์ค€๋„ ํ†ต๊ณผํ•˜์ง€ ๋ชปํ•ฉ๋‹ˆ๋‹ค.
16:06
(Laughter)
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(์›ƒ์Œ)
16:08
Who cares?
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๋ˆ„๊ฐ€ ์‹ ๊ฒฝ์“ฐ๊ฒ ์Šต๋‹ˆ๊นŒ
16:09
(Laughter)
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(์›ƒ์Œ)
16:11
And it has an internal handrail which gives it its strength.
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์˜ˆ,์ด๊ฒƒ์€ ์•ˆ์ชฝ๋ถ€์— ๋‚œ๊ฐ„์„ ๊ฐ€์กŒ์œผ๋ฉฐ, ์ด ๋‚œ๊ฐ„์ด ํž˜์„ ์ง€ํƒฑํ•ด ์ค๋‹ˆ๋‹ค. ์ด๊ฒƒ์€ ์ „์ฒด์ ์ธ๊ฒƒ์„ ์ง‘๋Œ€์„ฑํ•œ ๊ฒ๋‹ˆ๋‹ค.
16:14
It's this holistic integration. That's my studio. It's subterranean.
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์ €๊ฑด ์ €์˜ ์ŠคํŠœ๋””์˜ค์ž…๋‹ˆ๋‹ค. ๋น„๋ฐ€๊ธฐ์ง€์ด์ง€์š”.
16:17
It's in Notting Hill, next to all the crap --
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๋ชจ๋“  ํฌ๋žฉ ์˜†์˜ ๋…ธํŒ…ํž ์•ˆ์— ์žˆ์–ด์š”.-
16:19
the prostitutes and all that stuff.
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์•Œ๋‹ค์‹œํ”ผ, ๋ชจ๋“  ๋งค์ถ˜๋ถ€์™€ ๋ชจ๋“  ์žฌ๋ฃŒ๋“ค.
16:21
It's next to David Hockney's original studio.
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์ด๊ฒƒ์€ David Hockney์˜ ์˜ค๋ฆฌ์ง€๋„ ์ŠคํŠœ๋””์˜ค ์˜†์— ์žˆ์–ด์š”.
16:23
It has a lighting system that changes throughout the day.
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๊ทธ ์ŠคํŠœ๋””์˜ค๋Š” ์กฐ๋ช… ์‹œ์Šคํ…œ์„ ๊ฐ€์ง€๊ณ  ์žˆ๋Š”๋ฐ, ๊ทธ๊ฒƒ์€ ๋งค์ผ๋งˆ๋‹ค ๋ฐ”๋€๋‹ต๋‹ˆ๋‹ค.
16:26
My guys go out for lunch. The door's open. They come back in,
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์ €์˜ ์ง์›๋“ค์ด ์ ์‹ฌ์„ ๋จน์œผ๋Ÿฌ ๋‚˜๊ฐ‘๋‹ˆ๋‹ค. ๋ฌธ์ด ์—ด๋ฆฝ๋‹ˆ๋‹ค. ๊ทธ๋“ค์ด ๋‹ค์‹œ ๋Œ์•„ ์˜ต๋‹ˆ๋‹ค,
์™œ๋ƒ๋ฉด ์ด๊ฒƒ์€ ์ •์ƒ์ ์œผ๋กœ ๋น„๊ฐ€์˜ค๊ณ , ๊ทธ๋“ค์€ ์•ˆ์— ๋จธ๋ฌด๋ฅด๊ธฐ๋ฅผ ๋” ์ข‹์•„ํ•˜๊ธฐ ๋•Œ๋ฌธ์ด์ฃ .
16:29
because it's normally raining and they prefer to stay in.
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16:31
This is my studio.
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์ด๊ฒƒ์€ ์ œ ์ŠคํŠœ๋””์˜ค ์ด๋ฉฐ ์ด๊ฑด, 1988๋…„ ์˜ฅ์Šคํผ๋“œ๋Œ€์˜ ์ฝ”๋ผ๋ฆฌ ๋‘๊ฐœ๊ณจ์ž…๋‹ˆ๋‹ค.
16:33
Elephant skull from Oxford University, 1988.
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16:35
I bought that last year. They're very difficult to find.
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์ €๋Š” ์ž‘๋…„์— ์ด๊ฑธ ์ƒ€์–ด์š”. ๊ทธ๋“ค์€ ์ด๊ฑธ ์ฐพ๊ธฐ๊ฐ€ ๋งค์šฐ ์–ด๋ ค์› ๋‹ค๋”๊ตฐ์š”.
์ €๋Š” ๋ง์ด์ฃ  - ๋งŒ์ผ ๋ˆ„๊ตฐ๊ฐ€๊ฐ€ ๊ณ ๋ž˜์˜ ๋‘๊ฐœ๊ณจ์„ ์–ป๊ฒŒ๋œ๋‹ค๋ฉด ์ €์—๊ฒŒ ํŒ”๊ธฐ๋ฅผ ์›ํ•ฉ๋‹ˆ๋‹ค.
16:38
If anybody's got a whale skeleton they want to sell me,
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16:40
I'll put it in the studio.
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์ €๋Š” ๊ทธ๊ฑธ ์ œ ์ŠคํŠœ๋””์˜ค์— ๋†“์•„ ๋‘˜ ๊ฒ๋‹ˆ๋‹ค.
16:42
So I'm just going to interject a little bit
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๊ทธ๋ž˜์„œ ์ €๋Š” ๊ฐ€๋กœ์งˆ๋Ÿฌ ๊ฐˆ๊ฒ๋‹ˆ๋‹ค - ๊ทธ๋ฆฌ๊ณ  ๋‹น์‹ ์ด ๋ณด๊ฒŒ ๋  ๋น„๋””์˜ค์—
16:44
with some of the things that you'll see in the video.
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์กฐ๊ธˆ ์ฐธ๊ฒฌํ•  ๊ฒ๋‹ˆ๋‹ค.
16:47
It's a homemade video, made it myself at three o'clock in the morning
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์ด๊ฑด ์ง‘์—์„œ ์ฐ์€๋น„๋””์˜ค์—์š” : ์ƒˆ๋ฒฝ 3์‹œ์— ์ œ๊ฐ€ ์ฐ์€๊ฒ๋‹ˆ๋‹ค.
16:50
just to show you how my real world is.
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์ด๊ฒƒ์€ ์—ฌ๋Ÿฌ๋ถ„๊ป˜ ์ €์˜ ์„ธ๊ณ„๊ฐ€ ์–ด๋–ค์ง€๋ฅผ ๋ณด์—ฌ์ค๋‹ˆ๋‹ค. ์—ฌ๋Ÿฌ๋ถ„์€ ํ•œ๋ฒˆ๋„ ๋ณธ ์ ์ด ์—†์Šต๋‹ˆ๋‹ค.
16:53
You never see that.
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16:54
You never see architects or designers showing you their real world.
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์—ฌ๋Ÿฌ๋ถ„์€ ๊ฑด์ถ•๊ฐ€๋‚˜ ๋””์ž์ด๋„ˆ๋“ค์ด ์—ฌ๋Ÿฌ๋ถ„๊ป˜ ๊ทธ๋“ค์˜ ์ง„์ •ํ•œ ์„ธ๊ณ„๋ฅผ ๋ณด์—ฌ์ฃผ๋Š”๊ฑธ ํ•œ๋ฒˆ๋„ ๋ณธ ์ ์ด ์—†์Šต๋‹ˆ๋‹ค.
16:57
This is called a "Plasnet."
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์ด๊ฒƒ์€ Plasnet์ด๋ผ๊ณ  ๋ถˆ๋ฆฝ๋‹ˆ๋‹ค. ์ด๊ฒƒ์€ ํด๋ฆฌ์นด๋ณธ์ด๋ฉฐ-
16:58
It's a new bio-polycarbonate chair I'm doing in Italy.
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๋ฐ”์ด์˜ค ํด๋ฆฌ์นด๋ณด๋„ค์ดํŠธ๋ผ๋Š” ์ƒˆ๋กœ์šด ์˜์ž๋ฅผ ์ €๋Š” ์ดํ…Œ๋ฆฌ์—์„œ ์„ ๋ณด์˜€์Šต๋‹ˆ๋‹ค.
17:02
World's first bamboo bike with folding handlebars.
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์„ธ๊ณ„์—์„œ ์ฒ˜์Œ์ธ ์ ‘๋Š” ํ•ธ๋“ค๋ฐฉ์‹์˜ ๋Œ€๋‚˜๋ฌด ์ž์ „๊ฑฐ ์ž…๋‹ˆ๋‹ค.
17:05
We should all be riding one of these.
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์šฐ๋ฆฌ๋Š” ๋ชจ๋‘ ํ•˜๋‚˜๋ฐ–์— ์—†๋Š” ์ด๊ฒƒ์„ ํƒ”์Šต๋‹ˆ๋‹ค.
17:07
As China buys all these crappy cars, we should be riding things like this.
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์ค‘๊ตญ์—์„œ ์ด ํ„ฐ๋ฌด๋‹ˆ์—†๋Š” ์ฐจ๋ฅผ ๋ชจ๋‘ ์ƒ€์Šต๋‹ˆ๋‹ค.
์šฐ๋ฆฌ๋Š” ์ด๋Ÿฌํ•œ ๊ฒƒ๋“ค์„ ํƒ€์•ผ๋งŒ ํ–ˆ์Šต๋‹ˆ๋‹ค. ํ‰ํ˜•๋ ฅ.
17:11
Counterbalance.
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17:14
Like I say, it's a cross
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๋งํ–ˆ๋‹ค์‹œํ”ผ, ์ด๊ฒƒ์€ ์ž์—ฐ์˜ ์—ญ์‚ฌ ๋ฐ•๋ฌผ๊ด€๊ณผ
17:15
between Natural History Museum and a NASA laboratory.
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๋‚˜์‚ฌ์˜ ์‹คํ—˜์‹ค์˜ ๊ฒฝ๊ณ„๋ฅผ ๊ฐ€๋กœ์ง€๋ฅด๊ณ  ์žˆ์Šต๋‹ˆ๋‹ค. ์ด๊ฒƒ์€ ๋ชจํ˜•๋“ค๊ณผ ๋ชจ๋“ˆ๋“ค์ž…๋‹ˆ๋‹ค.
17:18
It's full of prototypes and objects.
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17:21
It's self-inspirational, again.
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์ด๊ฒƒ์€ ๋‹ค์‹œ ์Šค์Šค๋กœ ์˜๊ฐ์„ ์ผ๊นจ์›๋‹ˆ๋‹ค. ์ œ ๋ง์€, ๋“œ๋ฌผ๊ธดํ•˜์ง€๋งŒ ์ œ๊ฐ€ ์ €๊ธฐ ์žˆ์„ ๋•Œ
17:22
I mean, the rare times when I'm there,
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17:24
I do enjoy it.
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์ €๋Š” ๊ทธ๊ฒƒ์„ ์ฆ๊ธฐ๊ณ , ๋งŽ์€ ๊ฒƒ์„ ์–ป์–ด์˜ต๋‹ˆ๋‹ค -
17:26
And I get lots and lots of kids coming.
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๋งŽ๊ณ  ๋งŽ์€ ๊ฒƒ๋“ค์„ ๊ฐ€์ ธ์˜ต๋‹ˆ๋‹ค.
17:30
I'm a contaminator for all those children of investment bankers -- wankers.
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์ €๋Š” ๋ชจ๋“  ํˆฌ์ž์ž๋“ค์˜ ์–ด๋ฆฐ์ด๋“ค์„ ์˜ค์—ผ์‹œํ‚ค๋Š” ์˜ค์—ผ๋ฌผ์ž…๋‹ˆ๋‹ค.
17:35
Sorry.
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์ด๊ฒƒ์€..์Œ...๋ฏธ์•ˆํ•ด์š”.(์›ƒ์Œ)
17:36
(Laughter)
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17:38
That's a solar seed. It's a concept for new architecture.
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์ด๊ฒƒ์€ ํƒœ์–‘์—ด ์—ด๋งค์ž…๋‹ˆ๋‹ค. ์ด๊ฒƒ์€ ์ƒˆ๋กœ์šด ๊ฑด์ถ•์˜ ์ปจ์…‰๋ฌผ์ด์ฃ .
17:41
That thing on the top is the world's first solar-powered garden lamp --
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์ด๊ฒƒ์€ ์„ธ๊ณ„ ์ตœ์ดˆ์˜ ํƒœ์–‘์—ด ํŒŒ์›Œ๋กœ ๋œ ์ •์›๋žจํ”„์ž…๋‹ˆ๋‹ค. -
17:45
the first produced.
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์ฒซ ์ƒ์‚ฐ๋ฌผ์ž…๋‹ˆ๋‹ค. Giles Revell์€ ์˜ค๋Š˜๋‚  ์—ฌ๊ธฐ์„œ ๋งํ–ˆ์Šต๋‹ˆ๋‹ค.-
17:46
Giles Revell should be talking here today --
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17:49
amazing photography of things you can't see.
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์—ฌ๋Ÿฌ๋ถ„์ด ๋ณด์ง€ ๋ชปํ•œ ๋งค์šฐ๋งค์šฐ ๋†€๋ผ์šด ์‚ฌ์ง„์ž…๋‹ˆ๋‹ค.
17:51
The first sculptural model I made for that thing in Tokyo.
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์ฒซ ๋ชฉ์—…๋ชจ๋ธ์€ ๋„์ฟ„์—์„œ ๋งŒ๋“ค์—ˆ์Šต๋‹ˆ๋‹ค.
17:57
Lots of stuff. There's a little leaf chair --
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๋งŽ์€ ์žฌ๋ฃŒ๋“ค. ๊ทธ๊ฒƒ์€ ๋งค์šฐ ์ž‘์€ ์žŽ์‚ฌ๊ท€์˜ ์˜์ž์ž…๋‹ˆ๋‹ค.- ํ™ฉ๊ธˆ๋น›์œผ๋กœ ๋ณด์ด๋Š” ์ด๊ฒƒ์€ '์žŽ'์ด๋ผ๊ณ  ๋ถˆ๋ฆฌ์› ์Šต๋‹ˆ๋‹ค.
17:59
that golden looking thing is called "Leaf."
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18:01
It's made from Kevlar.
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์ด๊ฒƒ์€ ์บ๋ธ”๋ผ ์„ฌ์œ ๋กœ ๋งŒ๋“ค์—ˆ์Šต๋‹ˆ๋‹ค.
18:03
On the wall is my book called "Supernatural,"
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์ด ๋ฒฝ์€ ๋‚ด ์ฑ…์— '์Šˆํผ๋„ค์ถ”๋Ÿด'์ด๋ผ๊ณ  ๋ถˆ๋ €์Šต๋‹ˆ๋‹ค.
18:05
which allows me to remember what I've done, because I forget.
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์ด๊ฒƒ์€ ๋‚ด๊ฐ€ ๋๋ƒˆ๋‹ค๋Š”๊ฒƒ์„ ์žŠ์„ ๋•Œ ๋งˆ๋‹ค ๊ทธ๊ฒƒ์„ ์ƒ๊ธฐ์‹œํ‚ฌ ์ˆ˜ ์žˆ๋„๋ก ํ•ด ์ฃผ์—ˆ์Šต๋‹ˆ๋‹ค.
18:08
There's an aerated brick I did in Limoges last year,
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์ด๊ฒƒ์€ ๊ณต๊ธฐ๋กœ ๋œ ๋ฒฝ๋Œ์ด๋ฉฐ, ์ด๊ฒƒ์€ ์ž‘๋…„์— ํ–ˆ๋˜ ๋ฆฌ๋ชจ์ฃผ ๋„์ž๊ธฐ์ž…๋‹ˆ๋‹ค.
18:11
in Concepts for New Ceramics in Architecture.
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์ƒˆ๋กœ์šด ์„ธ๋ผ๋ฏน ๊ฑด์ถ• ์ปจ์…‰์ž…๋‹ˆ๋‹ค.
18:17
Gernot Oberfell, working at three o'clock in the morning --
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[ํ™•์‹ค์นœ ์•Š์ง€๋งŒ] ์ƒˆ๋ฒฝ 3์‹œ์— ์ผ์„ ํ–ˆ์Šต๋‹ˆ๋‹ค-
18:20
and I don't pay overtime.
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๊ทธ๋ฆฌ๊ณ  ์ €๋Š” ์‹œ๊ฐ„ ์™ธ ์ˆ˜๋‹น์„ ์ง€๊ธ‰ํ•˜์ง€ ์•Š์•˜์Šต๋‹ˆ๋‹ค.
18:22
Overtime is the passion of design,
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์‹œ๊ฐ„์™ธ ์ˆ˜๋‹น์€ ๋””์ž์ธ์— ๋Œ€ํ•œ ์—ด์ •์ž…๋‹ˆ๋‹ค, ๋”ฐ๋ผ์„œ ํด๋Ÿฝ์— ๊ฐ€๊ฑฐ๋‚˜ ์•„๋‹˜๋ง๊ฑฐ๋‚˜.
18:25
so join the club or don't.
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18:27
(Laughter)
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18:29
No, it's true. People like Tom and Greg --
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๊ทธ๊ฑด ์‚ฌ์‹ค์ž…๋‹ˆ๋‹ค. ์‚ฌ์‹ค์ž…๋‹ˆ๋‹ค. ์‚ฌ๋žŒ๋“ค์€ ํƒ๊ณผ ๊ทธ๋ž™์„ ์ข‹์•„ํ•ฉ๋‹ˆ๋‹ค. -
18:31
we're traveling like you can't -- we fit it all in.
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์šฐ๋ฆฐ ๋‹น์‹ ์€ ํ•  ์ˆ˜ ์—†๋Š” ํ™œ๋™๋“ค์„ ํ•˜์ฃ  - ์šฐ๋ฆฌ๋Š” ๋ชจ๋“ ๊ฒƒ์„ ์„ค๊ฒŒํ•ฉ๋‹ˆ๋‹ค. ์ €๋Š” ์šฐ๋ฆฌ๊ฐ€ ์–ด๋–ป๊ฒŒ ๊ทธ๋Ÿฐ ๊ฒƒ๋“ค์„ ํ•˜๋Š”์ง€ ์•Œ ์ˆ˜ ์—†์Šต๋‹ˆ๋‹ค.
18:33
I don't know how we do it.
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18:35
Next week I'm at Electrolux in Sweden, then I'm in Beijing on Friday.
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๋‹ค์Œ์ฃผ, ์ €๋Š” ์Šค์›จ๋ด์˜ ์ผ๋ ‰ํŠธ๋กœ ๋ฃฉ์Šค์— ๊ฐ‘๋‹ˆ๋‹ค.
๊ทธ๋ฆฌ๊ณ , ์ €๋Š” ๊ธˆ์š”์ผ ๋ฒ ์ด์ง•์— ๊ฐ‘๋‹ˆ๋‹ค.
18:39
You work that one out.
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18:41
And when I see Ed's photographs, I think, why the hell am I going to China?
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๊ทธ๋ฆฌ๊ณ  ์ œ๊ฐ€ Ed์˜ ์ž‘ํ’ˆ์„ ๋ณด๊ณ  ์ƒ๊ฐํ–ˆ์Šต๋‹ˆ๋‹ค.
์™œ ๋‚ด๊ฐ€ ์ค‘๊ตญ์— ๊ฐ€์•ผ ํ•˜๋‚˜์š”? ์ด๊ฒƒ์€ ์–ด์ฉ” ์ˆ˜ ์—†๋Š” ์‚ฌ์‹ค์ด์ฃ .
18:45
It's true. It's true.
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18:46
Because there's a soul in this whole thing.
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์‚ฌ์‹ค์ด์ฃ . ์™œ๋ƒ๋ฉด ๊ทธ๋“ค์˜ ์˜ํ˜ผ์ด ์ „๋ถ€ ๊ทธ๊ณณ์— ์žˆ์œผ๋‹ˆ๊นŒ์š”.
18:49
We need to have a new instinct for the 21st century.
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์šฐ๋ฆฌ๋Š” 21์„ธ๊ธฐ์˜ ์ƒˆ๋กœ์šด ๊ฒฝํ–ฅ์ด ํ•„์š”ํ•ฉ๋‹ˆ๋‹ค.
18:52
We need to combine all this stuff.
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์šฐ๋ฆฌ๋Š” ๋ชจ๋“  ์žฌ๋ฃŒ์˜ ์ƒˆ๋กœ์šด ๊ฒฐํ•ฉ์ด ํ•„์š”ํ•ฉ๋‹ˆ๋‹ค.
18:54
If all the people who were talking over this period
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๋งŒ์ผ ์ด ์‹œ๊ฐ„์„ ๋„˜์–ด ๋งํ•˜๋Š” ๋ชจ๋“  ์‚ฌ๋žŒ๋“ค์ด
18:57
worked on a car together,
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ํ•จ๊ป˜ ์ฐจ์—์„œ ์ผ์„ ํ•œ๋‹ค๋ฉด, ์ด๊ฒƒ์€ ๊ธฐ์จ. ์ ˆ๋Œ€์ ์ธ ๊ธฐ์จ์ž…๋‹ˆ๋‹ค.
18:58
it would be a joy, absolute joy.
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19:03
So there's a new X-light system I'm doing in Japan.
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๋”ฐ๋ผ์„œ, ์ƒˆ๋กœ์šด x-๋น› ์‹œ์Šคํ…œ์„ ์ผ๋ณธ์—์„œ ํ•  ๊ฒ๋‹ˆ๋‹ค.
19:07
There's Tuareg shoes from North Africa. There's a Kifwebe mask.
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์ด๊ฒƒ์€ ๋ถ ์•„ํ”„๋ฆฌ์นด์˜ ํˆฌ์•„๋ ˆ๊ทธ์กฑ ์‹ ๋ฐœ์ž…๋‹ˆ๋‹ค. ์ด๊ฒƒ์€ Kifwebe ๋งˆ์Šคํฌ ์ž…๋‹ˆ๋‹ค.
19:11
These are my sculptures.
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์ด๊ฒƒ๋“ค์€ ์ €์˜ ์กฐ๊ฐ๋“ค์ž…๋‹ˆ๋‹ค.
19:14
A copper jelly mold.
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๊ตฌ๋ฆฌ๋กœ ๋งŒ๋“  ์ ค๋ฆฌ ๋ชฐ๋“œ์ž…๋‹ˆ๋‹ค.
19:15
(Laughter)
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19:17
It sounds like some quiz show or something, doesn't it?
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์ด๊ฒƒ์˜ ์†Œ๋ฆฌ๋Š” ๋ช‡๊ฐœ์˜ ํ€ด์ฆˆ์‡ผ๋‚˜ ์–ด๋–ค๊ฒƒ ๊ฐ™์ง€ ์•Š์Šต๋‹ˆ๊นŒ?
19:22
So, it's going to end.
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๋์ด ๋‹ค๋˜์–ด ๊ฐ€๋Š”๊ตฐ์š”.
19:25
Thank you, James, for your great inspiration.
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๊ฐ์‚ฌํ•ฉ๋‹ˆ๋‹ค. ์ œ์ž„์Šค, ๋‹น์‹ ์˜ ํ›Œ๋ฅญํ•œ ์˜๊ฐ๋“ค์ž…๋‹ˆ๋‹ค.
19:34
Thank you very much.
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๋งค์šฐ ๊ฐ์‚ฌํ•ฉ๋‹ˆ๋‹ค.
19:35
(Applause)
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(๋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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