Pirates, nurses and other rebel designers | Alice Rawsthorn

Prevodilac: Milenka Okuka Lektor: Mile Živković

Design is a slippery and elusive phenomenon,

Dizajn je neuhvatljiva i nedokučiva pojava,

which has meant different things at different times.

koja je u različito vreme imala različito značenje.

But all truly inspiring design projects have one thing in common:

Ali svi istinski inspirativni dizajnerski projekti imaju nešto zajedničko:

they began with a dream.

začeli su se kao san.

And the bolder the dream,

A što je odvažniji san,

the greater the design feat that will be required to achieve it.

to će veći dizajnerski poduhvat biti potreban da se on ostvari.

And this is why the greatest designers are almost always

I stoga su najznačajniji dizajneri gotovo uvek

the biggest dreamers and rebels and renegades.

najveći sanjari i buntovnici i otpadnici.

This has been the case throughout history,

Tako je bilo kroz čitavu istoriju,

all the way back to the year 300 BC,

sve do 300 godine p.n.e.

when a 13-year-old became the king

kada je trinaestogodišnjak postao kralj

of a remote, very poor and very small Asian country.

udaljene, izuzetno siromašne i veoma male azijske zemlje.

He dreamt of acquiring land, riches and power

Sanjao je o sticanju zemlje, bogatstva i moći

through military conquest.

kroz vojna osvajanja.

And his design skills --

A njegove dizajnerske veštine -

improbable though it sounds --

koliko god to neverovatno zvučalo -

would be essential in enabling him to do so.

će da budu ključne u njegovom postizanju tog cilja.

At the time,

U to vreme,

all weapons were made by hand to different specifications.

sve oružje je ručno izrađivano s različitim specifikacijama.

So if an archer ran out of arrows during a battle,

Pa, ako bi strelcu tokom bitke nestalo strela,

they wouldn't necessarily be able to fire another archer's arrows

ne bi nužno mogao da ispali strelu drugog strelca

from their bow.

iz svog luka.

This of course meant that they would be less effective in combat

Ovo je naravno značilo da su bili manje efikasni u borbi

and very vulnerable, too.

kao i da su bili veoma ranjivi.

Ying solved this problem

Jing je rešio ovaj problem,

by insisting that all bows and arrows were designed identically,

insistirajući da svi lukovi i strele budu dizajnirani identično,

so they were interchangeable.

kako bi bili zamenjivi.

And he did the same for daggers, axes, spears, shields

Isto je učinio sa bodežima, sekirama, kopljima, štitovima

and every other form of weaponry.

i svim drugim oblicima oružja.

His formidably equipped army won batter after battle,

Njegova teško opremljena vojska je dobijala bitku za bitkom

and within 15 years,

i za 15 godina,

his tiny kingdom had succeeded in conquering

njegovo omaleno kraljevstvo je uspelo da osvoji

all its larger, richer, more powerful neighbors,

sve svoje veće, bogatije, moćnije susede

to found the mighty Chinese Empire.

i da osnuje moćno Kinesko carstvo.

Now, no one, of course,

Sad, niko, naravno,

would have thought of describing Ying Zheng as a designer at the time --

ne bi ni pomislio u to vreme da opiše Jing Zenga kao dizajnera -

why would they?

zašto bi?

And yet he used design unknowingly and instinctively

Pa ipak, koristio je dizajn bez znanja i instinktivno,

but with tremendous ingenuity

ali uz ogromnu originalnost

to achieve his ends.

kako bi ostvario svoje ciljeve.

And so did another equally improbable, accidental designer,

Isto je uradio i još jedan jednako neverovatan, slučajni dizajner,

who was also not above using violence to get what he wanted.

koji se takođe nije ustručavao u primeni nasilja zarad ličnih ciljeva.

This was Edward Teach, better known as the British pirate, Blackbeard.

To je bio Edvard Tič, poznatiji kao britanski gusar Crnobradi.

This was the golden age of piracy,

Bilo je to zlatno doba gusarstva,

where pirates like Teach were terrorizing the high seas.

u kom su gusari poput Tiča vršili teror po dalekim morima.

Colonial trade was flourishing,

Kolonijalna trgovina je cvetala

and piracy was highly profitable.

i gusarstvo je bilo krajnje isplativo.

And the smarter pirates like him realized that to maximize their spoils,

A pametniji gusari, poput njega, su uvideli da bi optimalizovali svoj plen,

they needed to attack their enemies so brutally

moraju izuzetno brutalno da napadaju svoje neprijatelje

that they would surrender on sight.

kako bi se predavali na licu mesta.

So in other words,

Drugim rečima,

they could take the ships without wasting ammunition,

mogli su da zauzmu brodove bez traćenja municije

or incurring casualties.

ili bez pretrpljenih žrtava.

So Edward Teach redesigned himself as Blackbeard

Pa je Edvard Tič redizajnirao sebe kao Crnobradog,

by playing the part of a merciless brute.

igrajući ulogu nemilosrdnog grubijana.

He wore heavy jackets and big hats to accentuate his height.

Nosio je teške jakne i velike šešire kako bi naglasio svoju visinu.

He grew the bushy black beard that obscured his face.

Negovao je gustu crnu bradu kako bi zamračio svoj lik.

He slung braces of pistols on either shoulder.

Kačio je remene pištolja na oba ramena.

He even attached matches to the brim of his hat and set them alight,

Čak je kačio šibice na obode svog šešira i palio ih je,

so they sizzled menacingly whenever his ship was poised to attack.

te su oni preteći šištali kad god bi njegov brod išao u napad.

And like many pirates of that era,

I kao većina gusara iz tog vremena,

he flew a flag that bore the macabre symbols

nosio je zastavu na kojoj su bili jezivi simboli

of a human skull and a pair of crossed bones,

ljudske lobanje i para ukrštenih kostiju

because those motifs had signified death in so many cultures for centuries,

jer su ti motivi vekovima značili smrt u velikom broju kultura,

that their meaning was instantly recognizable,

te je njihovo značenje bilo momentalno prepoznatljivo,

even in the lawless, illiterate world of the high seas:

čak i u svetu bezakonja i nepismenosti dalekih mora:

surrender or you'll suffer.

predajte se ili ćete ispaštati.

So of course, all his sensible victims surrendered on sight.

Stoga su se sve njegove razborite žrtve predavale na licu mesta.

Put like that,

Kad se tako postavi,

it's easy to see why Edward Teach and his fellow pirates

nije teško shvatiti zašto Edvarda Tiča i njegove kolege gusare

could be seen as pioneers of modern communications design,

možemo da posmatramo kao pionire savremenog komunikacijskog dizajna

and why their deadly symbol --

i zašto je njihov morbidni simbol -

(Laughter)

(Smeh)

there's more --

ima još -

why their deadly symbol of the skull and crossbones

zašto je njihov morbidni simbol lobanje i ukrštenih kostiju

was a precursor of today's logos,

bio prethodnik savremenih logoa,

rather like the big red letters standing behind me,

poput velikih crvenih slova koja se nalaze iza mene,

but of course with a different message.

ali naravno s drugačijom porukom.

(Laughter)

(Smeh)

Yet design was also used to nobler ends

Ipak, dizajn je korišćen i za plemenitije ciljeve

by an equally brilliant and equally improbable designer,

od strane jednako briljantnog i jednako neverovatnog dizajnera,

the 19th-century British nurse, Florence Nightingale.

britanske medicinske sestre iz XIX veka, Florens Najtingejl.

Her mission was to provide decent healthcare for everyone.

Njena misija je bila da obezbedi pristojnu zdravstvenu negu svima.

Nightingale was born into a rather grand, very wealthy British family,

Najtingejl je rođena u prilično velikoj, veoma imućnoj britanskoj porodici,

who were horrified when she volunteered to work in military hospitals

koja je bila zgrožena njenim volonterskim radom u vojnim bolnicama

during the Crimean War.

tokom Krimskog rata.

Once there, she swiftly realized

Kad je stigla tamo, namah je shvatila

that more patients were dying of infections that they caught there,

da više pacijenata umire od infekcija koje su dobili tu

in the filthy, fetid wards,

u prljavim, smrdljivim odeljenjima

than they were of battle wounds.

nego od rana iz bitaka.

So she campaigned for cleaner, lighter, airier clinics

Pa je krenula u kampanju da se čistije, svetlije, prozračnije klinike

to be designed and built.

dizajniraju i sagrade.

Back in Britain,

U Britaniji

she mounted another campaign,

je pokrenula drugu kampanju,

this time for civilian hospitals,

ovaj put za civilne bolnice

and insisted that the same design principles were applied to them.

i insistirala je da se isti dizajnerski principi primene na njih.

The Nightingale ward, as it is called,

Odeljenje Najtingejl, kako ga zovu,

dominated hospital design for decades to come,

dominiralo je dizajnom bolnica u narednim decenijama,

and elements of it are still used today.

a njegovi elementi se i danas koriste.

But by then,

Ali do tad,

design was seen as a tool of the Industrial Age.

dizajn je viđen kao oruđe industrijskog doba.

It was formalized and professionalized,

Formalizovan je i profesionalizovan,

but it was restricted to specific roles

ali je bio ograničen na konkretne uloge

and generally applied in pursuit of commercial goals

i uopšteno je primenjivan u jurenju komercijalnih ciljeva

rather than being used intuitively,

pre nego što je korišćen intuitivno,

as Florence Nightingale, Blackbeard and Ying Zheng had done.

kao što su radili Florens Najtingejl, Crnobradi i Jing Zeng.

By the 20th century,

Do XX veka,

this commercial ethos was so powerful,

ovaj komercijalni etos je bio toliko moćan

that any designers who deviated from it

da je bilo koji dizajner koji bi skrenuo s njega

risked being seen as cranks or subversives.

rizikovao da bude shvaćen kao osobenjak ili subverzivac.

Now among them is one of my great design heroes,

Sad, među njima je jedan od mojih najznačajnijih heroja dizajna,

the brilliant László Moholy-Nagy.

briljantni Laslo Moholji-Nađ.

He was the Hungarian artist and designer

Bio je mađarski umetnik i dizajner

whose experiments with the impact of technology on daily life

čiji su eksperimenti o uticaju tehnologije na svakodnevicu

were so powerful

bili toliko snažni

that they still influence the design of the digital images

da još uvek utiču na dizajn digitalnih slika

we see on our phone and computer screens.

koje gledamo na našim telefonima i kompjuterskim ekranima.

He radicalized the Bauhaus Design School in 1920s Germany,

Radikalizovao je dizajn škole bauhausa u Nemačkoj 1920-ih,

and yet some of his former colleagues shunned him

ipak, neki od njegovih bivših kolega su ga izbegavali

when he struggled to open a new Bauhaus in Chicago years later.

kada se mučio da započne novi bauhaus u Čikagu, godinama kasnije.

Moholy's ideas were as bold and incisive as ever,

Moholjijeve ideje su bile odvažnije i britkije nego ikad pre,

but his approach to design was too experimental,

ali je njegov pristup dizajnu bio suviše eksperimentalan,

as was his insistence on seeing it, as he put it,

kao i njegovo insistiranje da ga vide, kako je on to formulisao,

as an attitude, not a profession to be in tune with the times.

kao stav, ne kao profesiju koja je u skladu s vremenom.

And sadly, the same applied

I, nažalost, isto je primenjeno

to another design maverick: Richard Buckminster Fuller.

kod drugog nekonvencijalnog dizajnera: Ričarda Bakminstera Fulera.

He was yet another brilliant design visionary

Bio je još jedan briljantan dizajner vizionar

and design activist,

i dizajnerski aktvista,

who was completely committed to designing a sustainable society

koji je bio potpuno predan dizajniranju održivog društva

in such a forward-thinking way

na tako dalekovid način

that he started talking about the importance of environmentalism

da je počeo da govori o važnosti ekologije

in design in the 1920s.

u dizajnu 1920-ih.

Now he, despite his efforts,

Sad, njega su, uprkos naporima,

was routinely mocked as a crank by many in the design establishment,

mnogi iz dizajnerskog establišmenta rutinski ismejavali kao osobenjaka

and admittedly,

i, istini za volju,

some of his experiments failed,

neki njegovi eksperimenti su propali,

like the flying car that never got off the ground.

poput letećeg automobila koji se nikad nije podigao sa zemlje.

And yet, the geodesic dome,

Pa ipak, geodetska kupola,

his design formula to build an emergency shelter

njegova dizajnerska formula za izgradnju hitnih skloništa

from scraps of wood, metal, plastic,

od piljevine, metala, plastike,

bits of tree, old blankets, plastic sheeting --

komada drveta, starih ćebadi, plastičnih oplata -

just about anything that's available at the time --

od bilo čega što je tada bilo dostupno -

is one of the greatest feats of humanitarian design,

jedan je od najvažnijih poduhvata humanitarnog dizajna

and has provided sorely needed refuge

i poslužio je izbeglicama u krajnjoj nuždi,

to many, many people in desperate circumstances

mnogim, mnogim ljudima u užasnim okolnostima

ever since.

od tad.

Now, it was the courage and verve of radical designers

Sad, hrabrost i elan radiklanih dizajnera,

like Bucky and Moholy

poput Bakija i Moholjija

that drew me to design.

su me privukli dizajnu.

I began my career as a news journalist and foreign correspondent.

Započela sam karijeru kao novinarka vesti i strana dopisnica.

I wrote about politics, economics and corporate affairs,

Pišem o politici, ekonomiji i korporatvnim poslovima

and I could have chosen to specialize in any of those fields.

i mogla sam da odaberem specijalizaciju u bilo kojoj od ovih oblasti.

But I picked design,

Međutim, odabrala sam dizajn

because I believe it's one of the most powerful tools at our disposal

jer verujem da je to jedno od najmoćnijih oruđa nama na raspolaganju

to improve our quality of life.

da bismo popravili kvalitet našeg života.

Thank you, fellow TED design buffs.

Hvala vam, kolege s TED-a, zaljubljenici u dizajn.

(Applause)

(Aplauz)

And greatly as I admire the achievements of professional designers,

I koliko god se divila postignućima profesionalnih dizajnera,

which have been extraordinary and immense,

koja su neverovatna i nebrojena,

I also believe

takođe verujem

that design benefits hugely from the originality,

da dizajn najviše ima koristi od originalnosti,

the lateral thinking

od lateralnog razmišljanja

and the resourcefulness of its rebels and renegades.

i od snalažljivosti njegovih buntovnika i otpadnika.

And we're living at a remarkable moment in design,

Živimo u neverovatnom trenutku u dizajnu

because this is a time when the two camps are coming closer together.

jer je ovo vreme gde se te dve strane sve više približavaju.

Because even very basic advances in digital technology

Jer čak i krajnje osnovni napredak u digitalnoj tehnologiji,

have enabled them to operate increasingly independently,

omogućio im je da deluju sve nezavisnije

in or out of a commercial context,

unutar ili van komercijalnog konteksta,

to pursue ever more ambitious and eclectic objectives.

da slede sve ambicioznije i eklektičnije ciljeve.

So in theory,

Dakle, u teoriji,

basic platforms like crowdfunding, cloud computing, social media

osnovne platforme,

poput grupnog finansiranja, računarstva u oblaku, društvenih medija,

are giving greater freedom to professional designers

daju veće slobode profesionalnim dizajnerima

and giving more resources for the improvisational ones,

i pružaju više sredstava za one koji improvizuju

and hopefully,

i, nadajmo se,

a more receptive response to their ideas.

boljem prihvatanju njihovih ideja.

Now, some of my favorite examples of this are in Africa,

Sad, neki od mojih omiljenih primera ovoga su iz Afrike,

where a new generation of designers

gde nova generacija dizajnera

are developing incredible Internet of Things technologies

razvija neverovatne tehnologije na internetu

to fulfill Florence Nightingale's dream of improving healthcare

kako bi ostvarili san Florens Najtingejl o unapređenoj zdravstvenoj nezi

in countries where more people now have access to cell phones

u zemljama gde više ljudi ima pristup mobilnim telefonima

than to clean, running water.

nego čistoj, tekućoj vodi.

And among them is Arthur Zang.

A među njima je Artur Zang.

He's a young, Cameroonian design engineer

On je mladi inženjer dizajna iz Kameruna

who has a adapted a tablet computer into the Cardiopad,

koji je adaptirao tablet kompjuter u kardiopad,

a mobile heart-monitoring device.

prenosivi uređaj za praćenje rada srca.

It can be used to monitor the hearts of patients in remote, rural areas.

Može da se koristi za praćenje rada srca pacijenata

u udaljenim, ruralnim oblastima.

The data is then sent on a cellular network

Podaci se potom šalju na mobilnu mrežu

to well-equipped hospitals hundreds of miles away

do dobro opremljenih bolnica, stotinama kilometara daleko

for analysis.

radi analize.

And if any problems are spotted by the specialists there,

A ukoliko specijalisti primete bilo kakav problem,

a suitable course of treatment is recommended.

preporučuju odgovarajući tretman.

And this of course saves many patients

A ovo, naravno, pošteđuje mnoge pacijente

from making long, arduous, expensive and often pointless journeys

dugih, iscrpljujućih, skupih i često uzaludnih putovanja

to those hospitals,

do tih bolnica

and makes it much, much likelier

i mnogo, mnogo povećava šanse

that their hearts will actually be checked.

da će njihova srca zaista da budu pregledana.

Arthur Zang started working on the Cardiopad eight years ago,

Artur Zang je počeo da radi na kardiopadu pre osam godina,

in his final year at university.

tokom završne godine na fakultetu.

But he failed to persuade any conventional sources

Ali nije uspeo da ubedi nijedan konvencionalni izvor

to give him investment to get the project off the ground.

da uloži u njega kako bi projekat pokrenuo s nule.

He posted the idea on Facebook,

Postavio je ovu ideju na Fejsbuku,

where a Cameroonian government official saw it

gde ju je video jedan od kamerunskih vladinih zvaničnika

and managed to secure a government grant for him.

i uspeo je da obezbedi vladinu subvenciju za njega.

He's now developing not only the Cardiopad,

On sad razvija, ne samo kardiopad,

but other mobile medical devices to treat different conditions.

već i druge prenosive medicinske uređaje kako bi lečio različite bolesti.

And he isn't alone,

A nije usamljen

because there are many other inspiring and enterprising designers

jer postoji mnogo drugih inspirativnih i preduzimljivih dizajnera

who are also pursuing extraordinary projects of their own.

koji takođe jure izvanredne lične projekte.

And I'm going to finish by looking at just a few of them.

I završiću, osvrćući se na samo nekoliko njih.

One is Peek Vision.

Jedan je Pik Vižn.

This is a group of doctors and designers in Kenya,

To je grupa doktora i dizajnera iz Kenije,

who've developed an Internet of Things technology of their own,

koji su razvili sopstvenu internet tehnologiju

as a portable eye examination kit.

kao prenosivi pribor za očni pregled.

Then there's Gabriel Maher,

Potom tu je Gabrijel Mejer,

who is developing a new design language

koji razvija novi jezički dizajn

to enable us to articulate the subtleties of our changing gender identities,

kako bi nam omogućio da artikulišemo suptilnost promene rodnih identiteta,

without recourse to traditional stereotypes.

bez pribegavanja tradicionalnim stereotipima.

All of these designers and many more are pursuing their dreams,

Svi ovi dizajneri, i mnogi drugi, jure svoje snove,

by the making the most of their newfound freedom,

izvlačeći najveću korist od novootkrivene slobode,

with the discipline of professional designers

uz disciplinu profesionalnih dizajnera

and the resourcefulness of rebels and renegades.

i snalažljivost buntovnika i otpadnika.

And we all stand to benefit.

A svi mi od toga imamo korist.

Thank you.

Hvala vam.

(Applause)

(Aplauz)