Ross Lovegrove: The power and beauty of organic design

Ross Lovegrove Organik Tasarimlari Paylasiyor

Çeviri: tuba yilmaz Gözden geçirme: Sancak Gülgen

My name is Lovegrove.

Benim adim Lovegrove. Sadece dokuz Lovegrove taniyorum,

I only know nine Lovegroves, two of which are my parents.

bunlardan iki tanesi ebeveyinlerim.

They are first cousins, and you know what happens when, you know --

Annem ve Babam 1. derece kuzenler, ve durum boyle olunca ne olur bilirsiniz, bilirsiniz--

(Laughter)

So there's a terribly weird freaky side to me,

yani benim berbat bir sekilde tuhafca garip bir tarafim var,

which I'm fighting with all the time.

ki herzaman onunla savasiyorum. Bundan dolayi bugunun ustesinden gelebilmek icin,

So to try and get through today,

I've kind of disciplined myself with an 18-minute talk.

Kendi kendimi 18 dakikalik bir konusma ile disiplinledim.

I was hanging on to have a pee.

I thought perhaps if I was hanging on long enough,

Cisimi tutuyordum.

Dusundumki eger yeteri kadar tutabilirsem,

that would guide me through the 18 minutes.

bu 18 dakikayi kullanmak icin kilavuzum olabilir.

(Laughter)

(Gulusmeler)

OK. I am known as Captain Organic

Peki. Ben Kaptan Organik olarak biliniyorum,

and that's a philosophical position as well as an aesthetic position.

ve bu hem felsefik hemde estetik bir pozisyon.

But today what I'd like to talk to you about is that love of form

Fakat bugun sizinle bicim sevgisi hakkinda konusmak istiyorum

and how form can touch people's soul and emotion.

ve bicimin insanlarin ruhlarina ve duygularina nasil hitaab edebildiginden.

Not very long ago, not many thousands of years ago,

Cok uzun zaman once degil, binlerce yil once degil,

we actually lived in caves,

bizler aslinda magaralarda yasadik,

and I don't think we've lost that coding system.

ve bana kalirsa halen daha o kodlama sistemini yitirmedik.

We respond so well to form.

Bicime cok iyi tepki veriyoruz,

But I'm interested in creating intelligent form.

fakat ben akilli bicimler yaratmakla ilgileniyorum.

I'm not interested at all in blobism

Blobizmle hic bir sekilde ilgilenmiyorum

or any of that superficial rubbish that you see coming out as design.

ya da tasarim olarak adlandirilan gercekustu molozlarla.

This artificially induced consumerism -- I think it's atrocious.

Bunlar -- sunni olarak baslatilmis tuketicilik -- bana kalirsa berbat.

My world is the world of people like Amory Lovins,

Benim dunyam su insanlarin dunyasi gibi

Amory Lovins, Janine Benyus, James Watson.

Janine Benyus, James Watson.

I'm in that world, but I work purely instinctively.

Ben o dunyadayim, fakat ben tamamen icgusel olarak calisiyorum.

I'm not a scientist. I could have been, perhaps,

Ben bir bilim adami degilim. Belkide olabilirdim,

but I work in this world where I trust my instincts.

fakat ben icgudulerime guvendigim bir dunyada calisiyorum.

So I am a 21st-century translator of technology

Yani ben 21. yuzyil teknoloji cevirmeniyim

into products that we use everyday and relate beautifully and naturally with.

teknolojiyi gunluk olarak kullandigimiz urunlere ceviriyor ve guzel ve dogal bir sekilde iliskilendiriyorum.

And we should be developing things -- we should be developing packaging

Ve bizler birseyler gelistirmeliyiz--

fikirler icin paketleme gelistirmeliyiz ki insanlarin algilarini genisletebilmek

for ideas which elevate people's perceptions

and respect for the things that we dig out of the earth

ve yeryuzunden kazarak cikardigimiz materyallere saygi gosterebilmek

and translate into products for everyday use.

ve onlari gunluk kullandigimiz materyallere cevirebilmek icin.

So, the water bottle.

Evet, su sisesi.

I'll begin with this concept of what I call DNA.

DNA (TDS) olarak adlandirdigim konsept ile baslayacagim.

DNA: Design, Nature, Art.

DNA (TDS): Tasarim, Doga, Sanat. Bunlar benim dunyami sekillendiren seyler.

These are the three things that condition my world.

Here is a drawing by Leonardo da Vinci, 500 years ago, before photography.

Bu Leonardo Da Vinci nin bir eseri,

500 yil once, fotograftan evvel.

It shows how observation, curiosity and instinct

Gozlem, merak ve icgudunun inanilmaz sanati yaratmak icin nasil isledigini gosteriyor.

work to create amazing art.

Industrial design is the art form of the 21st century.

Endustriyel tasarim 21. yuzyilin sanat bicimi.

People like Leonardo -- there have not been many --

Leonardo gibi insanlarin -- onlardan cok fazla olmadi --

had this amazingly instinctive curiosity.

inanilmaz bir icgudusel meraklari vardi.

I work from a similar position.

Ben buna benzer bir pozisyonda calisiyorum.

I don't want to sound pretentious saying that,

Amacim bunu soyleyerek iddeali gorunmek degil,

but this is my drawing made on a digital pad a couple of years ago --

fakat bu benim bir kacyil once dijital ortamda yapilmis cizimim --

well into the 21st century, 500 years later.

21. yuzyilda, 500 yil sonra.

It's my impression of water.

Bu suyun bende olusturdugu izlenim.

Impressionism being the most valuable art form on the planet as we know it:

Izlenimcilik bu gezegendeki en degerli sanat dali bildigimiz gibi:

100 million dollars, easily, for a Monet.

Monetin bir eseri kolayca 100 milyon dolar degerinde.

I use, now, a whole new process.

Ben simdi yepyeni bir yontem kullaniyorum.

A few years ago I reinvented my process

Bir kac yil once yontemimi yeniden icat ettim,

to keep up with people like Greg Lynn, Thom Mayne, Zaha Hadid, Rem Koolhaas --

Greg Lynn, Tom Main, Zaha Hadid, Rem Koolhass-- gibi insanlara ayak uydurabilmek icin

all these people that I think are persevering and pioneering

bana gore tum bu insanlar azimli ve oncu kisiler

with fantastic new ideas of how to create form.

ve onlarin nasil bicim yaratilabilicagine dair olaganustu yeni fikirleri var.

This is all created digitally.

Bu dijital ortamda yaratildi.

Here you see the machining, the milling of a block of acrylic.

Burada makina ile yapilan islemi gorebilirsiniz, bir blok akriligin islenmesini.

This is what I show to the client to say, "That's what I want to do."

Musterilere "bunu yapmak istiyorum" demek icin bunu gosteriyorum.

At that point, I don't know if that's possible at all.

Bu noktada, bunun mumkun olup olmadigini dahi bilmiyorum.

It's a seductor, but I just feel in my bones that that's possible.

Bastancikarici, ama sadece kemiklerimde bunun mumkun oldugunu biliyorum.

So we go, we look at the tooling.

Ve devam ediyoruz. Aletleri gozden geciriyoruz. Bunun nasil uretildigini gozlemliyoruz.

We look at how that is produced.

These are the invisible things that you never see in your life.

Bunlar hayatinizda hic gormediginiz gorunmez seyler.

This is the background noise of industrial design.

Bu endustriyel tasarimin arkaplandaki gurultuleri.

That is like an Anish Kapoor flowing through a Richard Serra.

Bu bir Anish kapoor un bir Richard Serra uzerinden akmasi gibi.

It is more valuable than the product in my eyes.

Gozlerimde olan urunden daha degerli. Ona sahip degilim.

I don't have one.

When I do make some money, I'll have one machined for myself.

Biraz para kazandigimda, kendime bundan bir tane yaptiracagim.

This is the final product.

Bu urunun son hali. Bana gonderdiklerinde , basarisiz oldugumu dusundum.

When they sent it to me, I thought I'd failed.

It felt like nothing. It has to feel like nothing.

Hicbirseye benzemedigini hissettirdi. Hicbirsey gibi hissettirmesi gerekiyordu.

It was when I put the water in

Suyu icine koydugumda anladimki suya bir kilif gecirtmistim.

that I realized that I'd put a skin on water itself.

It's an icon of water itself,

Suyun kendisinin bir ikonu,

and it elevates people's perception of contemporary design.

ve insanlarin modern tasarima olan algilarini genisletiyordu.

Each bottle is different,

Butun siseler degisik, bu su seviyesinin farkli bir sekil ortaya cikacagi anlamina geliyor.

meaning the water level will give you a different shape.

It's mass individualism from a single product.

Bu tek bir urunden ortaya cikan kitlesel bireysellik. Sise ele uygun.

It fits the hand.

It fits arthritic hands. It fits children's hands.

Arteritli ellere uygun. Cocuklarin ellerine uygun.

It makes the product strong, the tessellation.

Bu urunu guclu kiliyor, farkli yuzeyleri acik birakmadan dodurabilmek.

It's a millefiori of ideas.

Bu fikir cumbusu.

In the future, they will look like that,

Gelecekte boyle gorunecekler, cunku su anda kullanilan

because we need to move away from those type of polymers

polimerlerden uzak durmamiz gerekiyor ve onlari medikal malzemelerde

and use that for medical equipment

and more important things, perhaps, in life.

ve belkide hayatta daha onemli seylerde kullanmamiz gerekiyor.

Biopolymers, these new ideas for materials,

Biyo-polimerler, materyallar hakkindaki bu yeni fikirler,

will come into play in probably a decade.

muhtemelen onumuzdeki on yil icerisinde oyuna dahil olacaklar.

It doesn't look as cool, does it?

Bir onceki kadar iyi gorunmuyor, degil mi?

But I can live up to that. I don't have a problem with that.

Fakat ben ben bununla yasayabilirim. Benim bununla bir problemim yok.

I design for that condition, biopolymers. It's the future.

Ben bu durum icin tasarim yapiyorum, biyo-polimerler. Gelecek bu.

I took this video in Cape Town last year.

Gecen yil Cape Town da bu videoyu kaydettim.

This is the freaky side coming out.

Bu benim tuhaf tarafimin ortaya cikisi.

I have this special interest in things like this, which blow my mind.

Benim bunun gibi seylere ozel bir ilgim var ki beni affallatiyor.

I don't know whether to, you know, drop to my knees, cry;

Dizcokup aglamamak istiyorum;

I don't know what I think.

ne dusunecegimi bilemiyorum. Fakat sadece doganin

But I just know that nature --

nature improves with ever-greater purpose

daha once var olan kenidinden daha buyuk bir amaca gelistigini biliyorum,

that which once existed,

and that strangeness is a consequence of innovative thinking.

ve bu tuhaflik yaratici dusunmenin bir sonucu.

When I look at these things, they look pretty normal to me.

Bunlara baktigim zaman, bana normal gorunuyorlar.

But these things evolved over many years, and what we're trying to do --

Ama bunlar uzun yillar boyunca evrim gecirdiler, ve simdi bizim yapmaya calistigimiz sey --

I get three weeks to design a telephone. How the hell do I do that,

Ben telefon tasarlamak icin uc hafta ile kisitlaniyorum.

Uc haftada nasil telefon tasarlayabilirim ki,

when you get these things that take hundreds of millions of years to evolve?

ki bunlar yuzmilyonlarca yilda ortaya cikiyorlar.

How do you condense that?

Bunu nasil kisa bir zamana sigdiririz?

It comes back to instinct.

Icguduye geri donuyoruz.

I'm not talking about designing telephones that look like that

Buna benzeyen telefonlar tasarlamaktan bahsetmiyorum,

and I'm not looking at designing architecture like that.

ve buna benzeyen mimari tasarlamayida dusunmuyorum.

I'm just interested in natural growth patterns

Sadece dogal gelisim paternleriyle ilgileyorum,

and the beautiful forms that only nature really creates.

ve sadece doganin yaratabildigi guzel bicimlerle.

How that flows through me and how that comes out

Bunun bende nasil bir izlenim yarattigi ve nasil ortaya ciktigi

is what I'm trying to understand.

anlamaya calisiyorum.

This is a scan through the human forearm.

Bu insan kolunun filmi. Daha sonra

It's then blown up through rapid prototyping

Hucresel yesini orataya cikarmak icin Stereolitografi uygulandi. Bunlar benim ofisimde.

to reveal its cellular structure.

I have these in my office.

My office is a mixture of the Natural History Museum

Benim ofisim Dogal Tarih Muzesi ile NASA uzay laboratuvarinin bir karisimi.

and a NASA space lab.

It's a weird, kind of freaky place.

Tuhaf, bir nevi korkunc bir yer.

This is one of my specimens.

Bu orneklerimden bir tanesi.

This is made --

Bu uretildi -- kemik organik olmayan minerallerin ve polimerlerlerin bir karisimi.

bone is made from a mixture of inorganic minerals and polymers.

I studied cooking in school for four years, and in that experience,

Okuldayken dort yil boyunca ahcilik uzerine egitim aldim, ve bu deneyimden,

which was called "domestic science,"

"yerli bilim" diye adlandirilmisti, benim icin

it was a bit of a cheap trick for me to try and get a science qualification.

bilim derecesi almaya calismak ucuz bir numaraydi.

(Laughter)

(Gulusmeler)

Actually, I put marijuana in everything I cooked --

Aslinda, pisirdigim herseye esrar koydum -- (Gulusmeler)

(Laughter)

And I had access to all the best girls. It was fabulous.

-- ve en iyi kizlara ulasma imkanim vardi. Inanilmazdi.

All the guys in the rugby team couldn't understand.

Rugby takimindaki erkekler anlayamaz, ama herneyse --

Anyway -- this is a meringue.

bu bir krema (mereng). Bu elimde olan diger ornek.

This is another sample I have.

A meringue is made exactly the same way, in my estimation, as a bone.

Tahminlerime gore beze (mereng) kemigin yapiminda kullanilan tipatip ayni yontemle yapiliyor.

It's made from polysaccharides and proteins.

Polisakkaritler ve proteinlerden yapiliyor.

If you pour water on that, it dissolves.

Eger uzerine su dokerseniz, cozunur.

Could we be manufacturing from foodstuffs in the future?

Gelecekte yiyecek maddeleri uretebilir miyiz?

Not a bad idea. I don't know.

Kotu bir fikir degil. Bilemiyorum. Jannie ile konusmam lazim

I need to talk to Janine and a few other people about that,

ve bununla ilgili birkac kisiyle daha, fakat icgudusel olarak

but I believe instinctively that that meringue can become something,

Bezenin (mereng) birseye donusebilecegine inaniyorum, bir araba mesela -- bilemiyorum.

a car -- I don't know.

I'm also interested in growth patterns:

Ayrica buyume paternleri ile ilgileniyorum:

the unbridled way that nature grows things

doga bir seyleri dizginsizce buyutuyor boylece herhangi bir sekille kisitlanmiyorsunuz.

so you're not restricted by form at all.

These interrelated forms, they do inspire everything I do,

Bunlar birbirleri ile alakali bicimler, benim yaptigim herseyin ilham kaynagi

although I might end up making something incredibly simple.

bununla beraber sonunda sasirtici bir sekilde basit bir sey yapabilirim.

This is a detail of a chair that I've designed in magnesium.

Bu magnezyumdan tasarladigim bir sandalyenin dataylandirilmasi.

It shows this interlocution of elements and the beauty of, kind of, engineering

Elementlerin diyalogunu ve bir nevi muhendisligin

and biological thinking,

ve biyolojik duscenin guzelligini gosteriyor, kemik yapisi gibi gosteriliyor.

shown pretty much as a bone structure.

Any one of those elements you could sort of hang on the wall

Buradaki herhangi bir elementi bir nevi sanat objesi olarak duvara asabilirsiniz.

as some kind of art object.

It's the world's first chair made in magnesium.

Bu magnezyumdan yapilmis dunyanin ilk sandalyesi.

It cost 1.7 million dollars to develop.

Bunu gelistirmek 1.7 milyondolara mal oluyor. 'Bernhardt, ABD tarafindan "Go"' olarak adlandiriliyor.

It's called "Go," by Bernhardt, USA.

It went into Time magazine in 2001 as the new language of the 21st century.

Time dergisi tarafindan 2001 yilinda

21. yuzyilin yeni dili olarak yayinlandi.

Boy. For somebody growing up in Wales in a little village, that's enough.

(Saskinlik ifadesi). Gallerde kucuk bir koyde buyuyen biri icin, bu yeterli.

It shows how you make one holistic form, like the car industry,

Nasil bir holistik bicim yapabileceginizi gosteriyor, araba endustrisi gibi,

and then you break up what you need.

ve sonrasinda ihtiyaciniz olan seyi ortaya cikariyorsunuz.

This is an absolutely beautiful way of working.

Bu kesinlikle calismanin guzel bir yolu.

It's a godly way of working.

Tanrisal bir calisma bicimi.

It's organic and it's essential.

Organik ve gerekli.

It's an absolutely fat-free design,

Bu kesinlikle "yagsiz" bir tasarim, ve ona baktiginizda,

and when you look at it, you see human beings.

insanlari goruyorsunuz. Tanri sizi kutsasin.

When that moves into polymers,

Polimerlere gelirsek, elastikligi degistirebilirsiniz, bicimin akiskanligini.

you can change the elasticity, the fluidity of the form.

This is an idea for a gas-injected, one-piece polymer chair.

Bu gaz enjekte edilmis bir parca polimer sandalye icin bir fikir.

What nature does is it drills holes in things.

Doga hersyin icide delikler aciyor. Bu bicimi ozgurlestiriyor.

It liberates form.

It takes away anything extraneous.

Yabanci maddeleri elimine ediyor. Benim yaptigim bu.

That's what I do.

I make organic things which are essential.

Ben organik ve gerekli seyleri yapiyorum.

And they look funky, too -- but I don't set out to make funky things

Ben -- ve biraz acayip gorunuyorlar -- fakat

Ben acayip seyler yapmak icin yola koyulmuyorum bana kalirsa bu kesinlikle utanc verici.

because I think that's an absolute disgrace.

I set out to look at natural forms.

Dogal bicimleri calismak icin yola koyuluyorum.

If you took the idea of fractal technology further, take a membrane,

Fraktal teknoloji fikrini bir adim one tasirsaniz, hucre zarini ele alalim,

shrinking it down constantly like nature does --

doganin yaptigi gibi surekli kucultursek --

that could be a seat for a chair.

bu bir sandalye icin otuma yuzeyi olabilir ;

It could be a sole for a sports shoe.

spor ayakkabisi icin ayakkabi icligi olabilir;

It could be a car blending into seats.

koltuklarina karisan bir araba olabilir.

Wow. Let's go for it. That's the kind of stuff.

Vav (Sasirma ifadesi). Hadi bunu yapalim. Bu istedigimiz sey.

This is what exists in nature.

Bu dogada var olan sey. Gozlem

Observation now allows us to bring that natural process

dogal surecleri tasarim islemlerine uyarlamamiza izin veriyor. Benim yaptigim sey bu.

into the design process every day.

That's what I do.

This is a show that's currently on in Tokyo.

Bu su an Tokyoda halen suren bir sergi.

It's called "Superliquidity." It's my sculptural investigation.

"Superakiskanlik" olarak adlandiriliyor. Bu benim heykele dair olan arastirmam.

It's like 21st-century Henry Moore.

Bu 21. yuzyil Henry Moore'u gibi. Henry Moore'u gordugunuzde

When you see a Henry Moore, still, your hair stands up.

halen daha, urperirsiniz. Inanilmaz bir mistik baglanma soz konusu.

There's some amazing spiritual connect.

If he was a car designer, phew, we'd all be driving one.

Kendisi bir araba tasarimcisi olsaydi, Hih, bizler birer tane kullniyor olurduk.

In his day, he was the highest taxpayer in Britain.

Zamaninda, Britanyadaki vergi rekortmeniydi.

That is the power of organic design.

Bu organik tasarimin gucu.

It contributes immensely to our --

Muazzam bir sekilde varolusumuza katkida bulunuyor.

sense of being,

our sense of relationships with things,

Esya ile olan iliski algimiza,

our sensuality and, you know, the sort of --

duygusalligimiza ve, bilirsiniz, bir nevi --

even the sort of socio-erotic side, which is very important.

hatta sosyo-erotik tarafimiza, ki cok onemli.

This is my artwork. This is all my process.

Bu benim sanatsal calismam. Bu benim yontemim.

These actually are sold as artwork. They're very big prints.

Bunlar aslinda satilmis sanat eserleri.

Cok buyuk ebatta basimlar. Fakat ben o objeye bu sekilde ulasiyorum.

But this is how I get to that object.

Ironically, that object was made by the Killarney process,

Ironik bir sekilde, O obje Kilarney yontemi ile yapildi,

which is a brand-new process here for the 21st century,

21. yuzyil icin yepyeni bir yontem,

and I can hear Greg Lynn laughing his socks off as I say that.

ve ben bunu soylerken Geg Lynin gulmekten yere yattigini duyabiliyorum.

I'll tell you about that later.

Bunu daha sonra aciklayacagim.

When I look into these data images,

Bu bilgi resimlerine baktigim zaman, ben yeni seyler goruyorum.

I see new things.

It's self-inspired.

Ben kendi -- bu kendi kendine ilhamlanmis. Cift atomlu yapilar, radyolarya,

Diatomic structures, radiolaria,

the things that we couldn't see but we can do now --

Simdi goremedigimiz ama yapabildigimiz seyler --

these, again, are cored out.

bunlar, yeniden, yeryuzunden geliyor. Bunlar gorunurde hicbirseyden meydana gelmis.

They're made virtually from nothing. They're made from silica.

Bunlar silisyumdan yapilmis. Arabalarda kullanilan yapilar neden boyle degiler?

Why not structures from cars like that?

Coral, all these natural forces,

Mercan, butun bu dogasal gucler, islerine yaramayan seyleri ayitlayin

take away what they don't need and they deliver maximum beauty.

ve onlar maksimum guzelliklerini sergileyecekler.

We need to be in that realm.

Bizler bu algida olmaliyiz. Ben boyle seyler yapmak istiyorum.

I want to do stuff like that.

This is a new chair which should come on the market in September.

Bu Eylulde satisa cikacak olan yeni bir sandalye.

It's for a company called Moroso in Italy. It's a gas-injected polymer chair.

Italyada bulunan Moroso adli bir sirket icin.

Bu Gaz enjekte edilmis polimer bir sandalye.

Those holes you see there are very filtered-down,

Gordugunuz delikler mumkun oldugunca kucultulmustur

watered-down versions of the extremity of the diatomic structures.

cift atomlu yapilarin gucunun yumusatilmis hali.

It goes with the flow of the polymer and you'll see --

Polimerin akisiyla beraber gidiyor ve goreceksiniz--

there's an image coming up right now that shows the full thing.

bir sonraki resim butununu gosteriyor.

It's great to have companies in Italy who support this way of dreaming.

Bu yontemle hayal kurmayi destekleyen sirketlerin Italyada olmasi cok guzel.

If you see the shadows that come through that,

Bundan suzulen golgeleri gozlemlerseniz,

they're actually probably more important than the product,

aslinda golgeler urunun kendisinden cok daha onemli,

but it's the minimum it takes.

fakat bu asgari limit.

The coring out of the back lets you breathe.

Arkasindan parca cikarilmis olasi sizin nefes almanizi sagliyor.

It takes away any material you don't need

Ihtiyaciniz olmayan materyali cikartiyor

and it actually garners flexure too.

ve aslinda ekolarak esneklik depoluyor, yani --

I was going to break into a dance then.

Ozaman birden dans etmeye baslayacaktim.

This is some current work I'm doing.

Bu su anda uzerinde calistigim bir proje.

I'm looking at single-surface structures

Tek-yuzeyli yapilarla ilgileniyorum ve onlarin dokulariyla --

and how they stretch and flow.

dokularina ve nasil esnediklerine. Mobilya topolojilerine dayandiriliyor,

It's based on furniture typologies, but that's not the end motivation.

fakat bu tek motivasyon degil. Bu aliminyumdan yapilmis,

It's made from aluminum ...

as opposed to aluminium, and it's grown.

Aliminyumun aksine bu buyumus (yetistirilmis).

It's grown in my mind,

Bu benim dusunce dunyamda yetistirildi, ve sonrasinda

and then it's grown in terms of the whole process that I go through.

benim izledigim dusunce yontemini izleyerek yetistirildi.

This is two weeks ago in CCP in Coventry, who build parts for Bentleys and so on.

Bu iki hafta once CCP Coventry de, Bentley icin parca ureten yer ve

It's being built as we speak

bu biz konustukca uretildi,

and it will be on show in Phillips next year in New York.

ve gelecek yil New York Philips de sergilenecek.

I have a big show with Phillips Auctioneers.

Philips Auctioneers de buyuk bir sergim var.

When I see these animations, oh Jesus, I'm blown away.

Aman tanrim, animasyonlari gordugumde aklim basimdan gidiyor.

This is what goes on in my studio everyday.

Bu benim studyodaki gunluk rutinim. Yuruyorum -- yolculuk yapiyorum. Geri donuyorum.

I walk -- I'm traveling. I come back.

Some guy's got that on a computer -- there's this like, oh my goodness.

Birileri bunu bilgisayara almis -- bu, aman tanrim.

So I try to create this energy of invention every day in my studio.

Yani bu innovasyon enerjisini hergun studyoda yaratmaya calisiyorum.

This kind of effervescent --

Bu tur enerjik ve tamamen dolu bir duygu karmasasi fikir uretebilir.

fully charged sense of soup that delivers ideas.

Single-surface products.

Tek-yuzeyli urunler. Ev esyasi guzel bir ornek.

Furniture's a good one.

How you grow legs out of a surface.

Tek yuzeyden nasil ayaklari uretebilirsiniz.

I would love to build this one day

Bunu bir gun uretebilmek isterim, ve belkide bunu

and perhaps I'd like to build it also out of flour, sugar,

undan, sekerden, polimerden, odun kiymiklarindan uretebilirim --

polymer, wood chips -- I don't know, human hair.

Bilemiyorum, insan sac. Bilemiyorum. Bunu denemek isterim.

I don't know. I'd love a go at that. I don't know. If I just got some time.

Bilemiyorum. Eger biraz zamanim olursa.

That's the weird side coming out again. A lot of companies don't understand that.

Bu garip olan tarafimin ortaya cikisi yine,

ve bircok sirket bunu anlayamiyor.

Three weeks ago I was with Sony in Tokyo.

Uc hafta once Tokyoda, Sony sirketindeydim. Bana soyle dediler, " Bize bir hedef (hayal) ver.

They said, "Give us the dream. What is our dream? How do we beat Apple?"

Bizim hedefimiz ne? Apple markasini nasil alt ederiz?"

I said, "You don't copy Apple, that's for sure.

Ben soyle dedim, " Kesin olan birsey var, Apple markasini kopyalamayin."

Soyle soyledim, " Biyo-polimer isine girmelisiniz." Beni dikkate almadilar.

You get into biopolymers."

They looked straight through me.

What a waste. Anyway.

Kendileri kaybeder. Herneyse. (Gulusmeler)

(Laughter)

No, it's true. Fuck them. You know, I mean --

Hayir, gercekten. S.kt.redin.

(Laughter)

(Gulusmeler)

I'm delivering; they're not taking.

Ben oneride bulunuyorum, onlar dikkate oalmiyorlar. Bu fikiri 20 yildir tasiyorum.

I've had this image 20 years.

I've had this image of a water droplet for 20 years, sitting on a hot bed.

Su damlasi fikiri 20 yildir orada.

That is an image of a car for me.

Bu benim icin bir araba fikiri (sekili).

That's the car of the future. It's a water droplet.

Bu gelecegin arabasi. Bu bir su damlasi.

I've been banging on about this like I can't believe.

Bunun hakkinda inanamayacagim bir sekilde avaz avaz bagiriyorum.

Cars are all wrong.

Butun arabalar yanlis.

I'm going to show you something a bit weird now.

Simdi sizlere biraz tuhan bir sey gosterecegim.

They laughed everywhere over the world I showed this.

Dunyada bunu gosterdigim heryerde uzerime gulduler.

The only place that didn't laugh was Moscow.

Gulunmeyen tek yer Moskova oldu.

Arabalari 30,000 parcadan yapiliyor.

Cars are made from 30,000 components.

How ridiculous is that? Couldn't you make that from 300?

Bu nekadar sacma. 300 parcadan yapmak mumkun degil mi?

It's got a vacuum-formed, carbon-nylon pan.

Karbon-naylon dan olusan vakkumlama teknigi kullanilarak yapilmis bir dis yuzeyi var. Her bir parca bir butun gibi integre edilmis.

Everything's holistically integrated. It opens and closes like a bread bin.

Tipki ekmek kutusu gibi acilip kapaniyor.

There is no engine. There's a solar panel on the back

Motor yok. Arkasinda bir gunes enerjisi paneli var,

and there are batteries in the wheels; they're fitted like Formula 1.

ve tekerleklerde bateriler.

Bateri ve tekerlekler Formula1 arabalari gibi integre edilmis. Onlari duvarinizdan alip,

You take them off your wall, you plug them in. Off you go.

arabaya takabilirsiniz. Gitmeye hazirsiniz.

A three-wheeled car: slow, feminine,

Uc tekerlekli bir araba: yavas, feminen, seffaf,

transparent, so you can see the people in there.

icindeki insanlari gorebilirsiniz. Arabayi durme sekliniz degisir.

You drive different.

(Gulusmeler)

You see that thing. You do. You do.

Simdi bunu gorusyorsunuz. Goruyorsunuz.

And not anesthetized, separated from life.

Goruyorsunuz ve bu anestezi edilmemis, hayattan ayrilmamis.

There's a hole at the front and there's a reason for that.

Onunde bir delik var, ve bunun bir nedeni var.

It's a city car. You drive along. You get out.

Bu bir sehir arabasi. Arabayi sureceksiniz.Arabayi birakacaksiniz.

You drive on to a proboscis. You get out.

Arabanin anteni (kazigi) uzerinde sureceksiniz. Disariya cikacaksiniz. Sizi yukariya kaldiracak.

It lifts you up.

It presents the solar panel to the sun, and at night, it's a street lamp.

Solar paneli gunese dogru cevirecek.

ve geceleri yol lambasi.

(Applause)

(Alkislar)

That's what happens if you get inspired by the street lamp first,

Eger yol lambasindan ilham alirsaniz once ortaya bu cikiyor,

and do the car second.

ve sonrada araba. Bu baloncuklar--

I can see these bubbles with these hydrogen packages,

Ben bu baloncuklari bu hidrojen paketleriyle gorebiliyoruz,

floating around on the ground, driven by AI.

yerde dolasiyor, AI ile suruluyor.

When I showed this in South Africa,

Guney Afrikada bunu gosterdigim zaman,

everybody afterwards was going, "Hey, car on a stick. Like this."

herkes soyle diyordu, "Evet, hey, kazik uzerinde araba. Bunun gibi."

Can you imagine? A car on a stick.

Hayal edebiliyor musunuz? Kazik uzerinde araba.

(Laughter)

If you put it next to contemporary architecture,

Eger bunu modern bir mimarinin yanina koyarsaniz,

it feels totally natural to me.

bana tamamen dogal hissi veriyor.

And that's what I do with my furniture.

Ve bu benim mobilya ile yaptigim.

I'm not putting Charles Eames' furniture in buildings anymore.

Artik binalarin icine Charles Eamesin mobilyalarini koymuyorum.

Onu unutun. Biz onu geride birakiyoruz.

I'm trying to build furniture which fits architecture.

Ben mimariye uygun mobilya yapmaya calisiyorum.

I'm trying to build transportation systems.

Ben ulasim sistemleri yapmaya calisiyorum.

I work on aircraft for Airbus,

Ucaklar ya da hva otobusleri uzerine calisiyorum, butunu--

I do all this sort of stuff

Ben bunun gibi seyleri dogalligi vurgulamaya calissarak yapiyorum,

trying to force these natural, inspired-by-nature dreams home.

dogadan ilham alinarak kurgulanan ev. Iki sey uzerine bitirecegim.

I'm going to finish on two things.

This is the stereolithography of a staircase.

Bu bir merdivenin stereolitografisi.

It's a little bit of a dedication to James, James Watson.

Bu biraz James, James Watsona, ithaf edildi.

I built this thing for my studio.

Bunu studyom icin urettim.

It cost me 250,000 dollars to build this.

Bana 250,000 dolara mal oldu.

Most people go and buy the Aston Martin.

Bir cok insan Aston Martin alir. Ben bunu insa ettim.

I built this.

This is the data that goes with that. Incredibly complex.

Bu merdivenin datasi. Inanilmaz derecede kompleks.

Took about two years, because I'm looking for fat-free design.

Yaklasik iki yil surdu, cunku ben yagsiz bir tasarim ariyorum.

Lean, efficient things. Healthy products.

Dayanikli, verimli seyler. Saglikli urunler.

This is built by composites.

Bu kompozitler kullanilarak uretildi. Bu tek bir element

It's a single element which rotates around to create a holistic element,

holistik bir element yaratmak icin etrafinda donuyor,

and this is a carbon-fiber handrail which is only supported in two places.

ve bu bir karbon-fiber korkuluk,

sadece iki noktadan destekleniyor.

Modern materials allow us to do modern things.

modern materyaller, modern seyler yapmamiza firsat veriyor.

This is a shot in the studio.

Bu studyodan bir kare.

This is how it looks pretty much every day.

Bu hemen hemen hergun nasil gorundugu.

You wouldn't want to have a fear of heights coming down it.

Yukseklik korkusunun bunun uzerine gelmesini istemezsiniz.

There is virtually no handrail. It doesn't pass any standards.

Gorunurde hic korkuluk yok. Kurallara uygun degil.

(Laughter)

(Gulusmeler)

Who cares?

Kimin umurunda?

(Laughter)

(Gulusmeler)

And it has an internal handrail which gives it its strength.

Evet, ve icerisinde bir korkuluk var ve bu onu saglanm kiliyor. Bu holistik integrasyon.

It's this holistic integration. That's my studio. It's subterranean.

Bu benim calisma ofisim. Bu yeraltinda.

It's in Notting Hill, next to all the crap --

Nothing Hillde pisligin yaninda --

the prostitutes and all that stuff.

bilirsiniz, fahiseler ve daha bir cok sey.

It's next to David Hockney's original studio.

David Hockneyin orijinal calisma ofisinin yan tarafinda.

It has a lighting system that changes throughout the day.

Gun boyunca degisen bir aydinlanma sistemi var.

My guys go out for lunch. The door's open. They come back in,

Calisanlarim oglen yemegi icin disariya gidiyorlar. Kapi acik. Iceriye geliyorlar,

Cunku normalde yagmur yagiyor, ve onlar iceride kalmayi tercih ediyorlar.

because it's normally raining and they prefer to stay in.

This is my studio.

Bu benim calisma ofisim. Oxford universitesinden fil kafatasi, 1988.

Elephant skull from Oxford University, 1988.

I bought that last year. They're very difficult to find.

Bunu gecen yil aldim. Bunlari bulmak cok zor.

Alirim -- eger birilerinin bana satmak istedigi bir balina iskeleti varsa,

If anybody's got a whale skeleton they want to sell me,

I'll put it in the studio.

calisma ofisime koyacagim.

So I'm just going to interject a little bit

Simdi sadece biraz bolecegim

with some of the things that you'll see in the video.

videoda goreceginiz bir takim seylerle.

It's a homemade video, made it myself at three o'clock in the morning

Bu ev yapimi bir video, bunu sabah saat ucte kendim yaptim.

just to show you how my real world is.

sadece benim gercek dunyami size gosterebilmek icin. Bunu asla goremezsiniz.

You never see that.

You never see architects or designers showing you their real world.

Mimarlarin ya da tasarimcilarin gercek dunyalarini asla goremezsiniz.

This is called a "Plasnet."

Bu "Plasnet" olarak adlandiriliyor.

It's a new bio-polycarbonate chair I'm doing in Italy.

Bu Italyada yaptigim yeni biyo-polikarbonat sandalye.

World's first bamboo bike with folding handlebars.

Dunyanin ilk katlanabilir direksiyonlu bambu bisikleti.

We should all be riding one of these.

Hepimizin birtane bunlardan kullaniyor olmasi gerekir.

As China buys all these crappy cars, we should be riding things like this.

Cin bu kotu arabalari alirken,

bizim bunlara benzer seyleri kullaniyor olmamiz lazim. Denge.

Counterbalance.

Like I say, it's a cross

Soyledigim gibi, Bu bir gecis, Dogal Tarih muzesi ile

between Natural History Museum and a NASA laboratory.

bir nasa labaratuvari arasinda. Bu tamamen prototipler ve objelerle dolu.

It's full of prototypes and objects.

It's self-inspirational, again.

Bu yine ilham verici, yani, benim orada oldugum nadir zamanlarda,

I mean, the rare times when I'm there,

I do enjoy it.

ben bundan zevkaliyorum. Ve bircok cocuklar ziyaret ediyor--

And I get lots and lots of kids coming.

cokfazla cocuk geliyor.

I'm a contaminator for all those children of investment bankers -- wankers.

Ben bankerlerin -- zuppelerin cocuklarinin beyin yikalyicisiyim.

Sorry.

Bu -- pardon -- (gulusmeler)

(Laughter)

That's a solar seed. It's a concept for new architecture.

--bu bir solar tohum. Bu yeni bir mimari icin konsept.

That thing on the top is the world's first solar-powered garden lamp --

En tepedeki sey Dunyanin ilk gunes enerjisi kullanan bahce lambasi --

the first produced.

ilk uretilen. Giles Revell bugun buraya getirecek --

Giles Revell should be talking here today --

amazing photography of things you can't see.

goremediginiz seylerin inanilmaz fotograflari.

The first sculptural model I made for that thing in Tokyo.

Tokyodaki sey icin yaptigim ilk heykelsi model.

Lots of stuff. There's a little leaf chair --

Bircok sey. Kucuk bir yaprak sandalye -- altin gibi gorunen sey "yaprak" olarak adlandiriliyor.

that golden looking thing is called "Leaf."

It's made from Kevlar.

Kevlardan yapildi.

On the wall is my book called "Supernatural,"

Duvarda benim kitabim 'Dogaustu,'

which allows me to remember what I've done, because I forget.

benim neler yaptigimi hatirlamama yardimci oluyor, cunku unutuyorum.

There's an aerated brick I did in Limoges last year,

Gecen yil Limogeste yaptigim hava kabarcikli tugla var,

in Concepts for New Ceramics in Architecture.

Mimari icin Yeni Seramik Konseplerinde.

Gernot Oberfell, working at three o'clock in the morning --

[Belirsiz], sabah ucte calisirken,

and I don't pay overtime.

ve fazla mesai odemem.

Overtime is the passion of design,

Fazla mesai tasarim icin tutku, ister katilirsiniz ister katilmaz. (Gulusmeler)

so join the club or don't.

(Laughter)

No, it's true. People like Tom and Greg --

Hayir, bu dogru. Bu dogru. Tom ve Greg gibi insanlar --

we're traveling like you can't -- we fit it all in.

biz sizin yapamayacaginiz gibi yolculuk yapiyoruz -- biz herseyi sigdiriyoruz. Nasil yaptigimizi bilmiyorum.

I don't know how we do it.

Next week I'm at Electrolux in Sweden, then I'm in Beijing on Friday.

Gelecek hafta Isvecte Elextroluxteyim.

Sonra cuma Pekinde. Bunu siz ayarlayin.

You work that one out.

And when I see Ed's photographs, I think, why the hell am I going to China?

Ve Edin fotograflarini gordugumde bence,

neden Cine gidiyorum? Bu dogru.

It's true. It's true.

Because there's a soul in this whole thing.

Bu dogru. Cubku bunun tumunde bir ruh var.

We need to have a new instinct for the 21st century.

21. yuzyil icin yeni bir icgudumuz olmali.

We need to combine all this stuff.

Bizim bunu birlestirmemiz gerekiyor.

If all the people who were talking over this period

Eger bu periyodda konusan insanlarin hepsi

worked on a car together,

hepbraber bir araba uzerine calisiyor olsaydi, bu bir zevk olurdu, tamamiyla zevk.

it would be a joy, absolute joy.

So there's a new X-light system I'm doing in Japan.

Evet Japonyada yeni bir X-isini sistemi yapiyorum.

There's Tuareg shoes from North Africa. There's a Kifwebe mask.

Kuzey Afrikada Tuareg ayakkabilari var. Kifbewe maskesi var.

These are my sculptures.

Bunlar benim heykellerim.

A copper jelly mold.

Bakir bir jel kalibi.

(Laughter)

It sounds like some quiz show or something, doesn't it?

kulaga kucuk sinav sovu gibi geliyor, degil mi?

So, it's going to end.

Evet, bitecek.

Thank you, James, for your great inspiration.

Tesekkurler, James, inanilmaz ilhamin icin.

Thank you very much.

Cok tesekkur ederim.

(Applause)

(Alkis)