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

Prevodilac: Milenka Okuka Lektor: Mile Živković

Two twin domes,

Dve srodne kupole,

two radically opposed design cultures.

dva radikalno suprotna kulturološka dizajna.

One is made of thousands of steel parts,

Jednu čini na hiljade čeličnih delova,

the other of a single silk thread.

druga je napravljena od samo jedne svilene niti.

One is synthetic, the other organic.

Prva je sintetička, druga je organska.

One is imposed on the environment,

Prva je nametnuta životnoj sredini,

the other creates it.

druga je stvara.

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

Prva je dizajnirana za prirodu, drugu je dizajnirala priroda.

Michelangelo said that when he looked at raw marble,

Mikelanđelo je rekao da kada posmatra neobrađen mermer,

he saw a figure struggling to be free.

vidi oblike koji se bore da budu oslobođeni.

The chisel was Michelangelo's only tool.

Dleto je bilo jedino Mikelanđelovo oruđe.

But living things are not chiseled.

Ali živa bića nisu isklesana.

They grow.

Ona rastu.

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

I u našim najmanjim jedinicama života, našim ćelijama, nosimo sve informacije

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

koje su potrebne da bi bilo koja druga ćelija funkcionisala i replicirala se.

Tools also have consequences.

S oruđima dolaze i posledice.

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

Bar nakon Industrijske revolucije, svetom dizajna dominira

by the rigors of manufacturing and mass production.

krutost fabrikovanja i masovne proizvodnje.

Assembly lines have dictated a world made of parts,

Montažne trake su diktirale svet sačinjen od delova,

framing the imagination of designers and architects

oblikujući maštu dizajnera i arhitekata

who have been trained to think about their objects as assemblies

koji su obučavani da razmišljaju o svojim objektima

of discrete parts with distinct functions.

kao o sklopovima odvojenih delova s različitim funkcijama.

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

Ali u prirodi nećete naći sklopove homogenih materijala.

Take human skin, for example.

Uzmite ljudsku kožu, na primer.

Our facial skins are thin with large pores.

Naša koža na licu je tanka, sa širokim porama.

Our back skins are thicker, with small pores.

Naša koža na leđima ja deblja, sa uskim porama.

One acts mainly as filter,

Prva se uglavnom ponaša kao filter,

the other mainly as barrier,

druga je uglavnom barijera,

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

pa ipak, to je ista koža: nema delova, nema sklapanja.

It's a system that gradually varies its functionality

To je sistem koji postepeno varira svoju funkcionalnost

by varying elasticity.

tako što varira elastičnost.

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

Dakle, ovo je podeljen ekran koji predstavlja moj podeljen pogled na svet,

the split personality of every designer and architect operating today

podeljenu ličnost svakog dizajnera i arhitekte koji danas posluju,

between the chisel and the gene,

između dleta i gena,

between machine and organism, between assembly and growth,

između mašine i organizma, između sklapanja i rasta,

between Henry Ford and Charles Darwin.

između Henrija Forda i Čarlsa Darvina.

These two worldviews, my left brain and right brain,

Ova dva pogleda na svet, mog levog i desnog mozga,

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

analize i sinteze, će da se prikazuju na dva ekrana iza mene.

My work, at its simplest level,

Moj posao, najprostije rečeno,

is about uniting these two worldviews,

je u ujedinjavanju ova dva pogleda na svet,

moving away from assembly

pomerajući se od sklapanja

and closer into growth.

sve bliže rastu.

You're probably asking yourselves:

Verovatno se pitate:

Why now?

zašto sada?

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

Zašto ovo nije bilo moguće pre deset ili bar pre pet godina?

We live in a very special time in history,

Živimo u veoma posebnom istorijskom vremenu,

a rare time,

u nesvakidašnjem vremenu,

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

vremenu u kome stapanje četiri oblasti pruža dizajnerima pristup oruđima

we've never had access to before.

kojima nikad do sada nismo imali pristup.

These fields are computational design,

Ove oblasti su: računarski dizajn,

allowing us to design complex forms with simple code;

koji nam omogućava da dizajniramo složene oblike jednostavnim kodom;

additive manufacturing, letting us produce parts

3D štampa nam omogućuje proizvodnju delova

by adding material rather than carving it out;

dodavanjem materijala, umesto rezanja istih;

materials engineering, which lets us design the behavior of materials

inženjering materijala nam omogućuje da dizajniramo svojstva materijala

in high resolution;

u visokoj rezoluciji;

and synthetic biology,

i sintetička biologija

enabling us to design new biological functionality by editing DNA.

nam omogućuje da dizajniramo nova biološka svojstva obradom DNK.

And at the intersection of these four fields,

A na preseku ove četiri oblasti

my team and I create.

je stvaralaštvo moje ekipe i mene.

Please meet the minds and hands

Molim vas, upoznajte umove i ruke

of my students.

mojih studenata.

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

Mi dizajniramo predmete i proizvode i strukture i oruđa raznih veličina,

from the large-scale,

od velikih,

like this robotic arm with an 80-foot diameter reach

poput ove robotske ruke sa obimom opsega od 24,4 metra

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

sa osnovom u vidu vozila koja će uskoro da štampa čitave zgrade,

to nanoscale graphics made entirely of genetically engineered microorganisms

do nanometarskih grafika

skroz napravljenih od genetski konstruisanih mikroorganizama

that glow in the dark.

koji svetle u mraku.

Here we've reimagined the mashrabiya,

Ovde smo nanovo osmislili mašrabiju,

an archetype of ancient Arabic architecture,

arhetip antičke arapske arhitekture,

and created a screen where every aperture is uniquely sized

i napravili smo zaslon na kome je svaki otvor jedinstvene veličine,

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

kako bismo uobličili prirodu svetlosti i toplote koja prolazi kroz njega.

In our next project,

U našem sledećem projektu

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

istražujemo mogućnost kreiranja ogrtača i suknje -

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

ovo je bilo na Pariskoj nedelji mode sa Irisom van Herpenom -

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

koji bi bili poput druge kože, napravljeni iz jednog dela,

stiff at the contours, flexible around the waist.

kruti na obodima, fleksibilni oko struka.

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

Zajedno sa mojim dugogodišnjim saradnikom u 3D štampanju, Stratasisom,

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

ištampali smo u 3D ovaj plašt i ovu suknju bez šavova među ćelijama,

and I'll show more objects like it.

i pokazaću vam još sličnih objekata.

This helmet combines stiff and soft materials

Ovaj šlem je kombinacija krutih i mekih materijala

in 20-micron resolution.

u rezoluciji od 20 mikrona.

This is the resolution of a human hair.

To je rezolucija ljudske dlake.

It's also the resolution of a CT scanner.

Takođe je to rezolucija CT skenera.

That designers have access

To što dizajneri imaju pristup

to such high-resolution analytic and synthetic tools,

ovakvim analitičkim i sintetičkim alatima u tako visokoj rezoluciji

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

omogućuje im da dizajniraju artikle koji se uklapaju s našim telima,

but also the physiological makeup of our tissues.

ne samo oblikom, već su i fiziološki sačinjeni od naših tkiva.

Next, we designed an acoustic chair,

Potom smo dizajnirali akustičnu stolicu,

a chair that would be at once structural, comfortable

stolicu koja bi ujedno bila strukturna, udobna

and would also absorb sound.

i takođe bi upijala zvuk.

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

Profesor Karter, moj saradnik, i ja smo u prirodi potražili inspiraciju

and by designing this irregular surface pattern,

i dizajniravši ovaj šablon sa nepravilnom površinom,

it becomes sound-absorbent.

on je postao upijač zvuka.

We printed its surface out of 44 different properties,

Ištampali smo njegovu površinu od 44 različita svojstva,

varying in rigidity, opacity and color,

koja variraju u krutosti, prozirnosti i boji,

corresponding to pressure points on the human body.

i koja se poklapaju sa tačkama dodira ljudskog tela.

Its surface, as in nature, varies its functionality

Njegova površina, kao što je i u prirodi, ima varijacije u funkcionalnosti,

not by adding another material or another assembly,

a postignuta je ne dodavanjem novih materijala ili novih sklopova,

but by continuously and delicately varying material property.

već konstantnom i delikatnom varijacijom svojstva materijala.

But is nature ideal?

Ali da li je priroda savršena?

Are there no parts in nature?

Zar i u njoj ne postoje delovi?

I wasn't raised in a religious Jewish home,

Nisam odgajana u religioznoj jevrejskoj porodici,

but when I was young,

ali kad sam bila mala,

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

moja baka mi je pričala priče iz jevrejske Biblije

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

i jedna od njih mi se urezala i ona definiše veći deo mojih vrednosti.

As she recounts:

Prema njenim rečima:

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

"Trećega dana stvaranja, Bog naredi Zemlji

to grow a fruit-bearing fruit tree."

da podari drvo rodno, koje rađa."

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

Kod ove prve voćke, nisu se razlikovali

between trunk, branches, leaves and fruit.

stablo, grane, lišće i voće.

The whole tree was a fruit.

Čitavo drvo je bilo voćka.

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

Nasuprot tome, na zemljištu raste drveće koje ima koru, stabljike i cveće.

The land created a world made of parts.

Zemljište je stvorilo svet sačinjen od delova.

I often ask myself,

Često se pitam:

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

"Kako bi izgledao dizajn kad bi predmeti bili napravljeni iz jednog dela?

Would we return to a better state of creation?"

Da li bismo se vratili boljem stadijumu stvaranja?"

So we looked for that biblical material,

Pa smo potražili taj biblijski materijal,

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

taj materijal poput drveta rodnog, koje rađa i pronašli smo ga.

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

Drugi po izobilju biopolimer na planeti se zove hitin

and some 100 million tons of it are produced every year

i oko 100 miliona tona ovog biopolimera svakodnevno proizvedu

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

organizmi, poput škampi, rakova, škorpija i leptira.

We thought if we could tune its properties,

Mislili smo da ako bismo podesili njegova svojstva,

we could generate structures that are multifunctional

mogli bismo da dobijemo strukture sa višestrukom namenom

out of a single part.

iz samo jednog dela.

So that's what we did.

Pa smo to i uradili.

We called Legal Seafood --

Pozvali smo restoran Ligal sifud -

(Laughter)

(Smeh)

we ordered a bunch of shrimp shells,

poručili smo gomilu ljuštura škampi,

we grinded them and we produced chitosan paste.

samleli smo ih i napravili hitonsku pastu.

By varying chemical concentrations,

Varirajući hemijski sastav,

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

bili smo u stanju da dobijemo širok spektar svojstava,

from dark, stiff and opaque,

od mračnih, krutih i neprozirnih,

to light, soft and transparent.

do svetlih, mekih i prozirnih.

In order to print the structures in large scale,

Kako bismo štampali strukture većih razmera,

we built a robotically controlled extrusion system with multiple nozzles.

sagradili smo sistem za istiskanje sa više mlaznica, koga kontroliše robot.

The robot would vary material properties on the fly

Robot u hodu vrši varijacije materijala

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

i stvara ove građevine od 3,7 metara napravljene iz jednog materijala,

100 percent recyclable.

100 posto razgradljive.

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

Kada su delovi gotovi, ostvljamo ih da se suše

and find a form naturally upon contact with air.

i da pronađu prirodan oblik u kontaktu s vazduhom.

So why are we still designing with plastics?

Pa zašto i dalje dizajniramo za plastiku?

The air bubbles that were a byproduct of the printing process

Vazdušni mehuri koji su bili nusproizvod procesa štampanja

were used to contain photosynthetic microorganisms

su korišćeni za gajenje fotosintetičkih mikroorganizama

that first appeared on our planet 3.5 billion year ago,

koji su se prvi put pojavili na našoj planeti pre 3,5 mil. god,

as we learned yesterday.

kako smo juče saznali.

Together with our collaborators at Harvard and MIT,

Zajedno sa saradnicima sa Harvarda i MIT-a,

we embedded bacteria that were genetically engineered

napravili smo bakteriju koja je genetski konstruisana

to rapidly capture carbon from the atmosphere

da brzo hvata ugljenik iz atmosfere

and convert it into sugar.

i pretvara ga u šećer.

For the first time,

Prvi put

we were able to generate structures that would seamlessly transition

smo bili u stanju da napravimo strukture koje bi neprimetno prelazile

from beam to mesh,

iz snopa u mrežu,

and if scaled even larger, to windows.

a bile su veće i od prozora.

A fruit-bearing fruit tree.

Drvo rodno, koje rađa.

Working with an ancient material,

Radeći sa drevnim materijalom,

one of the first lifeforms on the planet,

jednim od prvih oblika života na planeti,

plenty of water and a little bit of synthetic biology,

uz mnogo vode i malo sintetičke biologije,

we were able to transform a structure made of shrimp shells

bili smo u stanju da preobratimo strukture napravljene od ljuski škampa

into an architecture that behaves like a tree.

u arhitekturu koja se ponaša kao drvo.

And here's the best part:

A ovo je najbolji deo:

for objects designed to biodegrade,

kako su to biorazgradljivi objekti,

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

stavite ih u more i hraniće morski život;

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

stavite ih u tlo i pospešiće rast drveća.

The setting for our next exploration using the same design principles

Prostor našeg sledećeg istraživanja, koristeći iste principe

was the solar system.

je bio solarni sistem.

We looked for the possibility of creating life-sustaining clothing

Razmatrali smo mogućnost stvaranja odeće koja sadrži žive organizme

for interplanetary voyages.

za međuplanetarna putovanja.

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

Da bismo to uradili, morali smo da uzmemo bakterije i kontrolišemo njihov tok.

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

Slično periodnom sistemu, mi smo osmislili sopstveni sistem elemenata:

new lifeforms that were computationally grown,

nove oblike života koji su uzgajani računarski,

additively manufactured

3D odštampani

and biologically augmented.

i biološki uvećani.

I like to think of synthetic biology as liquid alchemy,

Volim da razmišljam o sintetičkoj biologiji kao o alhemiji tečnosti,

only instead of transmuting precious metals,

samo što umesto pretvaranja plemenitih metala,

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

sintetizujete nove biološke funkcije unutar veoma malih kanala.

It's called microfluidics.

To se zove mikrofluidika.

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

Ištampali smo u 3D sopstvene kanale, kako bismo kontrolisali tok

of these liquid bacterial cultures.

ovih tečnih bakterijskih kultura.

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

U našem prvom komadu odeće, kombinovali smo dva mikroorganizma.

The first is cyanobacteria.

Prvi je modrozelena alga.

It lives in our oceans and in freshwater ponds.

Živi u našim okeanima i u slatkovodnim jezerima.

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

A drugi je ešerihija koli, bakterija koja živi u ljudskim crevima.

One converts light into sugar, the other consumes that sugar

Prvi pretvara svetlost u šećer, drugi se hrani tim šećerom

and produces biofuels useful for the built environment.

i proizvodi biogoriva koja su korisna za konstruisanu sredinu.

Now, these two microorganisms never interact in nature.

Sad, ova dva mikroorganizma nikada ne dolaze u kontakt u prirodi.

In fact, they never met each other.

Zapravo, nikada se ne sreću.

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

Ovde su napravljeni prvi put

to have a relationship inside a piece of clothing.

kako bi ostvarili vezu unutar komada odeće.

Think of it as evolution not by natural selection,

Razmišljajte o tome kao o evoluciji, ne prirodnim odabirom,

but evolution by design.

već kao o evoluciji po dizajnu.

In order to contain these relationships,

Kako bismo zadržali ove veze,

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

napravili smo samo jedan kanal koji liči na digestivni trakt,

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

koji će da pomogne protok ovih bakterija i da usput izmeni njihove funkcije.

We then started growing these channels on the human body,

Potom smo počeli da uzgajamo ove kanale na ljudskom telu,

varying material properties according to the desired functionality.

varirajući svojstva materijala prema željenim svojstvima.

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

Gde smo želeli više fotosinteze, dizajnirali bi transparentnije kanale.

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

Ovaj nosivi digestivni sistem, kada se razvuče s kraja na kraj,

spans 60 meters.

proteže se 60 metara.

This is half the length of a football field,

To je polovina dužine fudbalskog terena

and 10 times as long as our small intestines.

i 10 puta je duže od našeg tankog creva.

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

I evo, prvi put to prikazujemo na TED-u -

our first photosynthetic wearable,

naša prva fotosintetička odeća,

liquid channels glowing with life inside a wearable clothing.

kanali tečnosti usijani od života unutar nosive odeće.

(Applause)

(Aplauz)

Thank you.

Hvala vam.

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

Meri Šeli je rekla: "Mi smo bezoblična bića, tek do pola formirana."

What if design could provide that other half?

Šta ako dizajn može da nam obezbedi tu drugu polovinu?

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

Šta ako možemo da napravimo strukture koje bi uvećale živu tvar?

What if we could create personal microbiomes

Šta ako bismo stvorili lične mikrobiome

that would scan our skins, repair damaged tissue

koji bi skenirali našu kožu, popravljajući oštećeno tkivo

and sustain our bodies?

i koji bi održavali naša tela?

Think of this as a form of edited biology.

Razmišljajte o ovome kao o vidu redigovane biologije.

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

Čitava ova kolekcija, "Vonderers", koja je nazvana po planetama,

was not to me really about fashion per se,

meni zaista nije važna moda sama po sebi,

but it provided an opportunity to speculate about the future

pružila mi je priliku da razmišljam o budućnosti

of our race on our planet and beyond,

o našoj vrsti na našoj planeti i dalje,

to combine scientific insight with lots of mystery

da kombinujem naučni pogled sa mnogo misterije

and to move away from the age of the machine

i da napravim otklon od doba mašina

to a new age of symbiosis between our bodies,

do novog doba simbioze među našim telima,

the microorganisms that we inhabit,

mikroorganizmima koji žive u nama,

our products and even our buildings.

našim proizvodima, pa i našim građevinama.

I call this material ecology.

Ovaj materijal zovem ekologijom.

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

Kako bismo to postigli, uvek moramo da se vratimo prirodi.

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

Za sada vam je poznato da 3D štampač štampa materijale u slojevima.

You also know that nature doesn't.

Takođe znate da priroda tako ne radi.

It grows. It adds with sophistication.

Ona uzgaja. Dodaje sofisticirano.

This silkworm cocoon, for example,

Čaura svilene bube, na primer,

creates a highly sophisticated architecture,

stvara veoma prefinjenu arhitekturu,

a home inside which to metamorphisize.

dom unutar koga metamorfozira.

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

Nijedan današnji 3D štampač nije ni blizu tog nivoa prefinjenosti.

It does so by combining not two materials,

Ona to radi kombinujući, ne dva materijala,

but two proteins in different concentrations.

već dva proteina u različitim koncentracijama.

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

Jedan se ponaša kao građa, drugi je lepak iliti matrica,

holding those fibers together.

on drži na okupu sva ta vlakna.

And this happens across scales.

A to se dešava bez obzira na veličinu.

The silkworm first attaches itself to the environment --

Svilena buba se prvo zakači za okolinu -

it creates a tensile structure --

stvara rastegljivu građu -

and it then starts spinning a compressive cocoon.

a potom počinje da prede zbijenu čauru.

Tension and compression, the two forces of life,

Rastegljivost i zbijenost, dve sile života,

manifested in a single material.

ispoljene u jednom materijalu.

In order to better understand how this complex process works,

Kako bismo bolje razumeli kako ovaj složeni proces funkcioniše,

we glued a tiny earth magnet

zalepili smo sićušni zemljani magnet

to the head of a silkworm, to the spinneret.

na glavu svilene bube, na prelju.

We placed it inside a box with magnetic sensors,

Smestili smo je u kutiju sa magnetskim senzorima,

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

a to nam je omogućilo da stvorimo ovaj 3D oblak od tačaka

and visualize the complex architecture of the silkworm cocoon.

i da vizualizujemo složenu arhitekturu čaure svilene bube.

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

Međutim, kada smo stavili svilenu bubu na ravno tlo,

not inside a box,

ne unutar kutije,

we realized it would spin a flat cocoon

shvatili smo da tada ispreda ravnu čauru

and it would still healthily metamorphisize.

i da i dalje zdravo metamorfozira.

So we started designing different environments, different scaffolds,

Pa smo počeli da dizajniramo različite sredine, različite skele

and we discovered that the shape, the composition,

i otkrili smo da na oblik, kompoziciju,

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

strukturu čaure, sredina direktno utiče.

Silkworms are often boiled to death inside their cocoons,

Svilene bube se često skuvaju na smrt unutar svojih čaura,

their silk unraveled and used in the textile industry.

potom se njihova svila razvija i koristi u tekstilnoj industriji.

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

Shvatili smo da nam dizajniranje ovih šablona omogućuje oblikovanje sirove svile

without boiling a single cocoon.

a da pri tom ne skuvamo ni jednu čauru.

(Applause)

(Aplauz)

They would healthily metamorphisize,

One bi zdravo metamorfozirale,

and we would be able to create these things.

a mi bismo bili u stanju da napravimo sve ovo.

So we scaled this process up to architectural scale.

Pa smo uvećali ovaj proces do arhitektonskih razmera.

We had a robot spin the template out of silk,

Robot nam je ispreo šablon od svile,

and we placed it on our site.

koji smo postavili na mesto gradnje.

We knew silkworms migrated toward darker and colder areas,

Znali smo da se svilene bube sele ka mračnijim i hladnijim mestima,

so we used a sun path diagram to reveal the distribution

pa smo koristili dijagram sunčevog hoda kako bismo otkrili raspored

of light and heat on our structure.

svetla i toplote na našoj građevini.

We then created holes, or apertures,

Potom smo napravili rupe ili otvore,

that would lock in the rays of light and heat,

koji bi zarobili svetlosne i toplotne zrake,

distributing those silkworms on the structure.

raspoređujući sve te svilene bube po građevini.

We were ready to receive the caterpillars.

Bili smo spremni za isporuku gusenica.

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

Poručili smo preko interneta 6,500 svilenih buba sa farme.

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

I nakon četiri nedelje uzgajanja, bile su spremne da sa nama predu.

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

Pažljivo smo ih smestili na donje obode skela,

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

a kako predu, one se učauravaju, pare, legu jaja

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

i život kreće ispočetka - baš kao i naš, samo mnogo, mnogo kraći.

Bucky Fuller said that tension is the great integrity,

Baki Fuler je rekao da je rastegljivost veliki integritet

and he was right.

i bio je u pravu.

As they spin biological silk over robotically spun silk,

Kako predu biološku svilu preko robotski ispredene svile,

they give this entire pavilion its integrity.

one pružaju čitavom ovom paviljonu integritet.

And over two to three weeks,

I za dve do tri nedelje,

6,500 silkworms spin 6,500 kilometers.

6,500 svilenih buba isprede 6,500 kilometara.

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

Zanimljiva podudarnost: ovo je takođe i dužina Puta svile.

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

Moljci prilikom polaganja jaja proizvedu 1,5 miliona jajašaca.

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

Ovo može da se iskoristi za još 250 paviljona u budućnosti.

So here they are, the two worldviews.

Dakle, to su dva pogleda na svet.

One spins silk out of a robotic arm,

Jedan prede svilu robotskom rukom,

the other fills in the gaps.

drugi popunjava rupe.

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

Ako je krajnji cilj dizajna udisanje života u proizvode

and the buildings around us,

i građevine oko nas,

to form a two-material ecology,

formiranje ekologije od dva materijala,

then designers must unite these two worldviews.

onda dizajneri moraju da ujedine ova dva pogleda na svet.

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

Što nas vraća, naravno, na početak.

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

Živelo novo doba dizajna, novo doba stvaranja,

that takes us from a nature-inspired design

koje će nas udaljiti od dizajna inspirisanog prirodom

to a design-inspired nature,

do prirode inspirisane dizajnom

and that demands of us for the first time

i koji će zahtevati od nas, prvi put,

that we mother nature.

da budemo majka prirodi.

Thank you.

Hvala vam.

(Applause)

(Aplauz)

Thank you very much. Thank you.

Mnogo vam hvala. Hvala vam.

(Applause)

(Aplauz)