Paola Antonelli: Treating design as art

翻译人员: Wang Jiuzhou 校对人员: Chaoran Yu

Those of us who believe in heaven have some sort of idea of what heaven would be.

凡有信仰之人，皆会猜想天堂的模样。

And in my idea, heaven is satisfied curiosity.

愚见则是天堂就是好奇心得到满足。

I think of heaven as a really comfortable cloud

我把天堂想像成一朵非常舒适的云朵，

where I can just lie down with my belly down,

我能用我的肚子趴在上面，

like I was watching TV when I was a child, and my elbows up.

就如同我小时候看电视那样，用我的手肘撑着头。

And I can basically look everywhere I want,

我可以想看哪就看哪，

see every movie I've always wanted to see.

我可以看我经常想看的电影。

And in the same kind of trance that you can feel sometimes

有时你也会有如此出神的感觉，

in the subway in New York when you're reading,

譬如当你在纽约的地铁阅读时，

there's something really soothing and easy.

你会感觉到怡人且轻松的气氛。

Well, the funny thing is that I already have that kind of life, in a way,

有趣的是，从某种程度上看，我已经拥有了这种天堂般的生活。

because I discovered ...

因为我发现了— —

it took me a while to understand it,

当然它花了我一段时间去理解它，

but when I discovered around 24 years of age that I was much more comfortable

当我在24岁的时候，我发现，我和艺术品在一起

with objects than with people, I finally decided to really embrace this passion.

比跟人在一起感觉更好，而后我决定要利用这份热情。

And I basically live my life in sort of a trance,

生活上，我基本上处于沉醉于万物的状态。

and I look around and everything I see is just the beginning of a long story.

而当我环顾四周时，我看到的一切都仅仅是一个长长的故事的开端。

Just to give you an example:

给你们举个例子吧，

this is the exhibition, Humble Masterpieces, as it was at MoMA in 2004.

2004年MoMA举行了名为“谦虚设计”的展览。

We were in Queens,

当时我们在皇后区。

we were building the big, big, big, big building in Midtown,

我们在市中心建一幢很大，很大，很大的建筑，

so we were in the small, small, small boondocks.

所以我们在一个很小，很小，很小的偏僻地区。

That was one of the funnest moments of my career.

那是我职业生涯中最有趣的时刻之一。

But it's not only that.

但是它不仅如此。

The typeface -- the typeface is Helvetica;

这个字体是海尔维希字体。

it's its 50th anniversary this year.

今年是它的第50周年。

And so I start thinking -- Max Miedinger and all those Swiss designers together,

因此我开始想：Max Miedinger以及其他所有的瑞士设计师一起

trying to outdo Akzidenz-Grotesk, and come up with a new sans-serif typeface --

试图超越Akzidenz Grotesk，设计出一种新的无衬线字体。

and the movie starts playing in my head already.

电影已经开始在我脑中播放了。

And of course, you can imagine, with Humble Masterpieces

当然了，你可以想象下“ 谦虚设计”展览，

it was the same thing multiplied by a hundred.

这是相同的一件被复制了上百次。

And I do hope, by the way, that the real goal of the exhibition

而与此同时，我确实希望，这个展览的

is going to have the same effect on you.

真正目的会在你们身上产生相同的影响。

The exhibition was meant to be a way to have children think of doing ...

展览旨在成为一种来让孩子们思考他们所做的事情的方式。

you know when they do homeworks at home?

当他们在家里做作业的时候，

Instead of having a tray with two peas, I was hoping that they would go

我很希望他们能够走进厨房看看橱柜，或者他们母亲的手袋，

into the kitchen cabinet or the mother's handbag

来做博物馆级的设计收藏，

and do their museum-quality design collection on a tray.

而不是拿两个黄豆在盘子上玩。

So, everybody's always suggesting new humble masterpieces,

因此每个人都一直在提议设置新的“谦虚设计”展览。

and at MoMA we put out some books

在MoMA我们放了很多书在那，

just for people to suggest their own humble masterpieces.

仅仅是为了让人们就他们眼中的“谦虚设计”给出建议。

And when you do that, usually you get 80 percent porn and 20 percent real suggestions,

而当你做这个的时候，通常呢，你得到的80%的建议都是和色情有关的，只有20%是真正的建议。

and instead it was all -- almost -- all good suggestions.

但是，几乎所有的建议都是好的建议。

And a lot of nationalism came in.

而爱国热情也在那个时候流行起来。

For instance, I didn't know that the Spaniards invented the mop,

比如说，我之前并不知道是西班牙人发明了拖把，

but they were very proud

但是他们非常自豪。

so every Spaniard said "la frego." And Italians did the pizza.

因此每个西班牙人说“la frego”，而意大利人发明了披萨。

And I wanted to show you, also, the suggestions from Kentucky are pretty good --

但我想给你们看的是，同样来自肯塔基的

they had moonshine, laundry detergents and liquid nails.

非常好的建议：他们有私酿酒、洗衣液以及液订钉。

And I keep it going, and I just got,

继续，我刚刚得到了

(Laughter)

(笑声）

also, this suggestion from Milan:

这个来自米兰的提议—

it's our traffic divider, which we call "panettone," and it's painted;

这是交通分隔物，我们叫做panettone, 它是上了漆的。

it's these beautiful concrete things that you use around Milan

你们知道吗，整个米兰都是用的这些漂亮的混凝土物体

to define all the lanes of traffic.

来来定义交通线路的。

So, think of your own,

现在想一下你们自己的（经验）。

send them on if you want to -- they're always welcome.

你可以把它们发给我们，只要你愿意我们欢迎之至。

But an exhibition like that made me understand even more

但是这样一个展览让我对一个问题了解更多了，

what I've been thinking of for 13 years ever since I got to MoMA.

自从我进入现代艺术博物馆我就开始思考这个问题，已有13年了吧。

I'm Italian. In Italy, design is normal.

我是意大利人。在意大利，设计随处可见。

Different parts of the world have a knack for different things.

要知道，不同的地方的人对事物的喜恶是差异甚大的。

I was just recently in Argentina and in Uruguay,

前不久我在阿根廷和乌拉圭，

and the default way of building homes in the country is a beautiful modernism

在这些国家常见的建造住房的方法有着非常漂亮的现代感

that you don't see elsewhere, but the contemporary art was terrible.

这是其它地方所看不到的，但是（两国）的当代艺术非常糟糕。

In Italy, in Milan especially,

在意大利——尤其是在米兰

contemporary art really doesn't have that much of a place.

当代艺术真的没有占据多大席位。

But design -- oh, my God.

但是设计呢—我的天！

What you find at the store at the corner, without going to any kind of fancy store,

不用去高级商场，你在随便进一个拐角处的商店

is the kind of refined design that makes everybody think that

都会发现里面精致的设计让每个人觉得

we are all so sophisticated.

我们是如此的时髦。

It's just what you find at the store.

这还仅仅是你在商店里面发现的东西。

And New York has another kind of knack for contemporary art.

而纽约对现代艺术有着另一种偏好。

I'm always amazed -- three-year-olds know who Richard Serra is

我对此一向非常吃惊。三岁的孩子知道Richard Serra是谁

and take you to the galleries.

并且还会带你去艺术展览。

But design, for some reason, is still misunderstood for decoration.

但是设计，因为某些原因，仍然仅仅被误解为一种装饰

It's really interesting:

这确实很有意思。

what many people think when I say the word "design" is they think of

当我提到“设计”这个词的时候，

this kind of overdesigned -- in this case, it's overdesigned on purpose, but --

很多人想起这是一种过度设计—在这个例子中，确实是故意过度设计，

decoration, interior decoration.

但是装饰，室内装饰，

They think of somebody choosing fabrics.

他们就想起是某个人在挑选建筑材料。

Design can be that, of course, but it can also be this.

这些当然是设计的一部分，但设计还可以做的更多

It can be a school of design in Jerusalem that tries to find a better way

但它也可能是在耶路撒冷的一个设计学校为了找出一个

to design gas masks for people,

更好的方法来为人们设计防毒面具。

because, as you know, Israel deploys one gas mask per person including babies.

因为，你知道，以色列给每个人包括婴儿配置了防毒面具。

So, what these designers do is they find a way to lower the neckline,

。因此，这些设计家所做的就是找到一个方法来降低领口，

so that instead of being completely strangled, a teenager can also sip a Coke.

这样的话像青少年就可以同时吸着可乐了，而不是被勒的喘不过气来。

They tried to make a toddler's gas mask in such a way that the toddler

当地人这样设计婴儿的防毒面具是因为这样的话婴儿

can be held by the parent because proximity of the body is so important.

可以被其父母保护着，因为身体的亲近是如此重要，

And then they make a little tent for the baby.

然后他们能为孩子做个小的帐篷。

However cruel, however ruthless you can think this is it's a great design,

不管你觉得这有多么的粗浅和简陋，这确实是一个非常好的设计。

and it is miles away from the fancy furniture,

虽然这和设计奢华家具相距甚远，

but still, it's part of my same field of passion.

但却是我的激情所在。

What I've been doing at MoMA since the beginning is to try to

我从始至今在MoMA做的

harness the power of MoMA

是试图利用MoMA的能力。

because it's great to work there. You really have power

因为能在那里工作实在是太棒了。

in that people usually tend to know about your exhibition or see the exhibitions,

你真的有能力，这种能力能让人们知道你的展览或者来观看。

and that is power because in a design museum I wouldn't have as many visitors.

而这种力量，因为是在一个设计博物馆，我不可能有太多的游客。

I'm very well aware that 80 percent of my public is there to see Picasso and Matisse,

我非常清楚观光客中的80%都是去那看毕加索和马蒂斯。

and then they stumble upon my show and I keep them there.

要是他们刚好来到我们的展区并驻足观看的话，我就设法将他们留在那里。

But what I've been trying to do is something that the curators at MoMA

但是我一直在尝试做的也是我的部门的MoMA的策展人

in my department have been doing ever since the museum was founded in 1929,

自博物馆1929年建立后一直在做的东西，

which is to try and see what's going on in the world

也就是尝试着发现世界上正在发生些什么，

and try to use that authority in order to make things better.

并且利用设计的威力使得事物变得更加美好。

There have been many episodes,

那有着很多的例子。

and actually Eames Demetrius may be here in the audience,

实际上，Eames Demetrius可能现在正坐在观众席里。

but in two instances, his great-grandfather, grandfather --

但是从他的曾祖父还有祖父的例子来看，

I'm always a little perplexed about the relation, exactly --

哦，我总是搞不太清楚这一关系

Charles Eames the first time and then Charles and Ray Eames the second time

但是，Charles Eames第一次，

were involved in two competitions:

接着Charles和Ray Eames第二次都参加了两个比赛。

one in 1940, it was about organic furniture, and the second one in 1948

一个是在1940年，这是关于有机家具的比赛。而第二个比赛是在1948年，

was low-cost furniture for the GIs coming back from the war

是为从战场归来的美国兵们设计低成本的家具，

that then sparked a whole line of furniture.

而这也激起了整个家具生产产业的火热。

And then there was good design for very low price.

那个时候就有了非常低价的优秀的设计。

There were a lot of programs in architecture and design that were about

在建筑学和设计学上出现了很多关于

pointing people in the direction of a better design for a better life.

“设计让生活更美好”这样的导向的项目。

So, I started out in '95 with this exhibition that was called

所以呢，我从95年开始就开始从事这个被叫做

Mutant Materials in Contemporary Design.

“创新材料与当代设计”的展览。

It was about a new phase, in my opinion, in the world of design

这是一个新的阶段，在我看来，

in that materials could be customized by the designers themselves.

在设计界，材料可以被设计家们所应用。

And that put me in touch with such diverse design examples as the aerogels

而这也让我接触到了多样的设计例子，

from the Lawrence Livermore Lab in California;

比如加州Lawrence Livermore实验室的气凝胶。

at that time, they were beginning to be brought into the civilian market.

那时，这些产品才开始被推广进入市场。

And at the same time, the gorgeous work of Takeshi Ishiguro, who did these

同时，Takeshi Ishiguro的杰作也问世了，

beautiful salt-and-pepper containers that are made of rice dough.

他用大米面团做成了这些漂亮的盐罐和胡椒罐。

So you see, the range is really quite diverse.

所以，你们看，这些设计涵盖的范围是相当广的。

And then, for instance, this other exhibition

另外举例说说2001年的

that was entitled Workspheres in 2001,

另一个命名为“工作环境”的展览吧，

where I asked different designers to come up with ideas for

在那我请不同的设计家们

the new type of work styles that were happening in the world at that time.

就那时世界上新的工作风格想出点子来。

And you see IDEO there.

你们看到的上面那个是IDEO设计的，

It was beautiful -- it was called Personal Skies.

很漂亮，它名字是“个人天空”。

The idea was that if you had a cubicle, you could project a sky on top

这一构思是假设如果你有一个小卧室，

of your head and have your own "Cielo in Una Stanza" -- a sky in a room --

你可以在你的头顶上按上一片天空，那你就有了你自己的“Cielo in Una Stanza”一片天空。

it's a very famous Italian song.

这是一首非常有名的意大利歌曲。

And other examples: this was Marti Guixe about working on the go,

其他的例子也不胜枚举。Marti Guixe关注的是在上班途中怎样工作。

and Hella Jongerius, my favorite, about how to work at home.

Hella Jongerus，我最喜欢的设计家，关注的是如何在家里工作。

And this lets me introduce a very important idea about design:

而这不禁让我想要介绍一个关于设计的非常重要的理念给你们。

designers are the biggest synthesizers in the world.

设计家是世界上最大的合成家。

What they do best is make a synthesis of human needs,

他们所做的出彩之处就是将人类需求、

current conditions in economy, in materials, in sustainability issues,

以及现在在经济、材料、可持续性问题上的现状结合考虑问题。

and then what they do at the end -- if they are good --

而他们最终做的，如果是好的的话，

is much more than the sum of its parts.

将会远远优于部分的集合。

Hella Jongerius is a person that is able to make a synthesis

而Hella Jongerius是

that is really quite amazing

能将合成做的很好

and also quite hilarious.

也很有趣。

The idea behind her work was that

她工作的理念是—

at that time, everybody was saying you have to really divide your life.

你知道，当每个人都在说“你真的需要把工作休闲分开”的时候，

Instead, she said, "No, no. Work and leisure can be together."

相反的，她却在说“不不，工作和休闲可以共存的。”

Yeah, that's particularly gorgeous -- it's the TV dinner of 2001.

真的，这多棒啊，这就像是2001年的流行的电视餐一样。

There have been many other exhibitions in the meantime,

虽然还有很多其他的展览，

but I don't want to focus on my shows.

但我不想完全只关注我的展示。

I would like, instead, to talk about how great some designers are.

相反地，我想谈谈一些伟大的设计家们。

I've always had a hard time with the word "maverick."

我一直都对特立独行者（maverick）这个词颇为不解，

I came to the United States 13 years ago, and to this day

你知道，13年前我来到美国了，直到今天，

I have to ask, "What does that mean?"

我还在问，这是什么意思呢？

So, this morning I went to see on the dictionary and it said that

所以今天早上，我翻开字典，上面讲到

there was this gentleman that was not branding its cattle.

曾经有位绅士没有在他的牛身上烙印，

Therefore, he was not following everybody's lead,

因此他就没有随其他人的大流。

and therefore, he was a maverick.

因此，他就是个特立独行者。

So, designers do need to be mavericks,

由此可见，设计家们的确需要成为特立独行者，

because the best way to design a successful object --

因为设计一件物品，

and also an object that we were missing before --

以及对于一个我们以前丢失了的物品来说，

is to pretend that either it never existed

最佳方式就是当它从来没存在过

or that people will be able to have a new behavior with it.

或者相信人们用上这一新品之后会有新的行为。

So, Safe is the last exhibition that I did at MoMA

因此，“安全”是我在MoMA做的最后一个展览。

and it ended at the beginning of last year.

它在去年年初结束了，

It was about design that deals with safety and deals with protection.

这一展览是处理安全以及保护的设计。

It's a long story because it started before 2001 and it was called Emergency.

说来话长，因此它在2001前就开始了，当时它叫做“急救”。

And then when 9/11 happened, I had a shock and I canceled the exhibition

而当时正好9/11事件发生了，我不由得一惊，随后我便取消了展览。

until, slowly but surely, it came back --

直到慢慢地，这一展览又回来了，

as a half-full glass instead of half-empty --

像一盛满水的玻璃杯而不是半满的水杯，

and it was about protection and safety.

它是关于保护和安全的。

But it ranged from such items as a complete de-mining equipment to

展览的范围从完整的一套清雷设备

these kind of water-sterilizing straws,

到水质净化消毒管道。

so it was really wide-ranging.

因此，这场展览非常广泛的。

It also had ... you know, Cameron and I worked a little bit together,

它同时也有，你知道，我和Cameron在一起的合作。

and some of the entries that you see in his website were actually in the exhibition.

你们在他的网站上看到的一些东西确实也在展览中出现了。

But what is interesting is that we don't need to talk about design and art anymore;

有趣的事情是我们并不需要再讨论设计和艺术了。

design uses whatever tools it has at its disposal in order to make a point.

但是设计是使用它所能用到的一切工具来说明一个观点。

It's a sense of economy and a sense, also, of humor.

这是一种经济意识，也是一种幽默感的体现。

This is a beautiful project by Ralph Borland, who's South African.

这是来自南非的Ralph Borland的一件非常漂亮的设计。

It's a suit for civil disobedience.

这是一个为非暴力反抗设计的外套。

The idea is that when you have a riot or a protest

设计的理念是当你在参加暴动以及反抗时，

and the police comes towards you, you're wearing this thing --

警察靠近你了，你正穿着这一外套。

it's like a big heart and it has a loudspeaker over your heart

它看起来像一颗巨大的心脏，而它在你心脏的位置有一个扩音器，

so your heartbeat is amplified --

这样你的心跳声就被放大了。

and the police is reminded;

而警察也被提醒，

it's like having a flower in front of the rifle.

就像一朵鲜花在来复枪口前一样。

And also, you can imagine, a whole group of people with the same suit

而且，你可以想象，当一群人都穿着这样相同的外套时，

will have this mounting collective heartbeat that will be scary to the police.

集体的心跳声会吓到警察。

So, designers sometimes don't do things that are immediately

你知道，设计家们有时并不制作一些有即刻功能性的事物，

functional, but they're functional to our understanding of issues.

但是他们对于我们对事物的理解力却非常有用。。

Tony Dunne and Fiona Raby

Dunne和Raby，也就是Tony Dunne 和Fiona Raby

did this series of objects that are about our anguish and our paranoia,

设计了一系列可以反映我们的痛苦和妄想情绪的物品

like this hideaway furniture that's made in the same wood as your floor

像这种可以隐藏的家具一样，它是用和你地板一样的木材制作的，

so it disappears completely and you can hide away;

因此它可以完全消失不见，你也可以把它藏起来。

or even better, the huggable atomic mushroom, which got me an article

而更好的一个是这个喜人的原子蘑菇云，

on the Bulletin of Atomic Scientists of the United States --

这个发现也让我有幸在美国《原子科学家公报》上发表文章。

I don't think it ever happened before at MoMA;

在MoMA工作前这是不可能发生的。

or this Faraday Chair that is supposed to protect you from radiations.

而这把法拉第座椅可以保护你避免辐射的侵害。

But the interesting thing in the exhibition is the discovery that

但是展览中有趣的事是

the ultimate shelter is your sense of self,

发现最终庇护物就是你的自我意识。

and there are quite a few designers that are working on this particular topic.

已经有一些设计家开始在这个特殊的领域上工作。

This is Cindy van den Bremen, who is a Dutch designer

来自荷兰的设计家Cindy van der Bremen,

that's done this series of Capsters.

为穆斯林妇女设计了一系列的专用运动服，

They are athletic gear for Muslim women that enable them to ski, play tennis,

可以让她们能滑雪，打网球，

do whatever they want to do without having to uncap themselves.

做任何她们想做的运动，而不用担心暴露自己。

And sometimes by doing this kind of research,

有的时候，做这样的工作让你

you encounter such beautiful ideas of design.

有机会发现极好的设计理念。

Twan Verdonck is really young, I think he's 27, and working together with

Twan Verdonck非常年轻，我猜他可能也就27岁吧。通过与心理学家合作，

some psychologist he did a series of toys that are for sensorial

针对有心理缺陷的孩子，他制作出一系列玩具

stimulation for children that have psychological impairments.

可以对他们起到知觉刺激作用。

They're quite beautiful.

这些玩具真的棒极了。

They range from this fluffy toy that is about hugging you --

这个毛绒玩具，好像要抱着你一样，

because autistic children like to be hugged tight, so it has a spring inside --

而有孤独病的孩子都喜欢被紧紧地拥抱，

all the way to this doll with a mirror so the child can see him or herself

因此这一玩具里面装有弹簧还有镜子，这样孩子们就能

in the mirror and regain a sense of self.

从镜子里看到自己，以重新获得归属感。

Design really looks upon the whole world

设计其实是从不同的领域

and it considers the world in all of its different ranges.

角度来看待整个世界。

I was recently at a conference on luxury organized by the Herald Tribune in Istanbul.

前不久，我在土耳其参加了一个关于奢侈品的会议，这是由《国际先驱导报》组织的。

And it was really interesting because I was the last speaker

有意思的是，正好我是最后一个发言者，

and before me there were people that were really talking about luxury,

而在我之前，有很多人确实是在谈论奢侈品。

and I didn't want to be a party pooper but at the same time

我并不想成为一个在聚会上扫兴的人，

I felt that I had to kind of bring back the discourse to reality.

可是同时我又感觉到我不得不把演讲拉回现实。

And the truth is that there are very different kinds of luxury,

事实是奢侈其实有很多种，

and there's luxury that is relative for people that don't have that much.

对于没有拥有太多奢侈的人们来说，奢侈是相对的。

I want to make this point by showing you two examples of

为了说明这一点，我会举两个例子，

design coming from a sense of economy -- very, very clear limits.

他们的灵感都来自于经济学。

This is Cuba, and this is the recycling of a squeaky toy as a bicycle bell,

这个是在古巴，这是一个可循环的吱吱叫的自行车铃的玩具。

and this is a raincoat that is made out of rice sacks.

而这个呢，是用大米袋子做的雨衣。

So they're quite beautiful, but they're beautiful because

他们都很漂亮，

they're so smart and economical.

但是他们的漂亮源于他们的设计是如此的灵巧与实惠。

And here is the work of two brothers from Sao Paulo,

现在看到的是来自圣保罗的两兄弟

Fernando and Humberto Campana, who got inspired by the poverty and

Fernando和Humberto Campana的作品。他们受到

smartness that they saw around them to do pieces of furniture that now are

其身边的贫困和智慧的启发，然后制作了一件件家具，

selling for an enormous amount of money.

现在卖出了一大笔钱。

But that's because of the kind of strangeness of the market itself.

而这也正是市场本身的不可思议之处。

So really, design takes everything into account,

说真的，设计包罗万象。

and the interesting thing is that as the technology advances,

有趣的是，随着技术的进步，

as we become more and more wireless and impalpable,

当我们变得越来越无线化和无形化的时候，

designers, instead, want us to be hands-on.

设计家们却想让我们能实地做些事。

Sometimes hammer-on.

有时候，设计师还会让你拿起大锤。

This is a whole series of furniture that wants to engage you physically.

你看，这一套家具需要你动手才能用。

Even this chair that you have to open up and then sit on so that it takes

即使是这把椅子，你也需要自己打开再坐在上面，

your imprint, all the way to this beautiful series of objects

这样它就留下了你的烙印。这一系列的物品都是都是

that are considered design by Ana Mir in Barcelona.

巴塞罗那的Ana Mir设计的。

From this kind of bijou made with human hair to these chocolate nipples

他的作品从用人的头发做成的装饰耳环到巧克力奶头，

to these intra-toe candies that your lover is supposed to suck from your toes.

再到引诱你的爱人去舔你脚趾的趾间糖果。

(Laughter)

(笑声)

It's quite beautiful because somehow, this is a gorgeous moment for design.

这些设计都非常漂亮，因为不知为何，这都是设计的一个华丽瞬间。

Many years ago I heard a mathematician from Vienna, whose name was Marchetti,

很多年前，我听说了一位维也纳的叫Marchetti的数学家，

explain how the innovation in the military industry --

他解释了在军事生产部门的创新

therefore, secret innovation -- and the innovation in the

是秘密的创新。而这一创新和

civilian society are two sinusoids that are kind of opposed.

民间创新就像两条相反的正弦曲线。

And that makes sense.

这是有道理的。

In moments of war there's great technological innovation,

在战争年代，技术创新层出不穷。

and in the world you have to do without --

但是在物资匮乏的社会里，比如在二战时期，

well, during the Second World War, you had to do without steel,

你得面对没有钢铁

you had to do without aluminum.

没有铝的情况。

And then as peace comes, all of these technologies get all of a sudden

而当和平来了，所有的这些技术突然一下子

available for the civilian market.

都可以被民间市场所利用了。

Many of you might know that the Potato Chip Chair

你们中的很多人可能听说过Charles和Ray Eames设计的土豆片椅子，

by Charles and Ray Eames comes exactly from that kind of instance:

它正是其中一个例子。

fiberglass was available for civilian use all of a sudden.

玻璃纤维也突然就得到了民用。

I think that this is a strange moment.

我想这是一个奇怪的时刻。

The rhythm of the sinusoids has changed tremendously,

正弦曲线的周期性发生了巨大的变化，

just like the rhythm of our life in the past 25 years,

就如同我们的生活节奏在过去的25年也有了巨变一样。

so I'm not sure anymore what the wavelength is.

因此我不再确信波长是多少。

But it surely is a very important moment for design,

但这却真的是设计的一个非常重要的时刻。

because not only is the technology proceeding, not only is computing

计算机技术不仅使得开放资源

technology making open-source possible also in the world of design,

在设计界中成为可能，

but also the idea of sustainability --

而且还有可持续性的理念。

which is not only sustainability from the viewpoint of CO2 emissions and footprint,

不仅仅是关于二氧化碳排放以及发展观点得出的可持续性，

but also sustainability of human interrelationships --

还有人类相互关系的可持续性。

is very much part of the work of so many designers.

这已成为现在很多设计家工作的一部分。

And that's why designers, more and more, are working on behaviors

这也是为何设计家们越来越多地关注由设计带来的行为改变，

rather than on objects.

而非物品本身。

Especially the good ones, not all of them.

特别是优秀的设计家们，并不是说所有的设计家都是如此。

I wanted to show you, for instance, the work of Mathieu Lehanneur,

我想让你们看看，Mathieu Lehanneur的作品，

which is quite fantastic.

非常奇特。

He's another young designer from France who's working --

他是另一位来自法国的年轻的设计家，

and at this point he's working, also, with pharmaceutical companies --

他现在和制药公司合作，

on new ways to engage patients, especially children,

设计新的方法让病人们

in taking their medicines with constancy and with certainty.

特别是小孩们能持续确定地吃药。

For instance, this is a beautiful container for asthma medicine

举例来说吧，这是一个装哮喘药的漂亮瓶子，

that kind of inflates itself when it's time for you to take the medicine,

当到你该吃药的时候，它就会自动地膨胀开来。

so the child has to go -- pffff! -- to release and relieve the container itself.

这样孩子就会去打开药瓶。

And this other medicine is something that you can draw on your skin,

而另外这个药是可以让你在身上作画的。

so intradermal delivery enables you to joyfully be involved

皮内的传输让你很快乐地参与到

in this particular kind of delivery.

这种特别的传输过程中来。

Similarly, there's the work of people like Marti Guixe that tries to involve

相似地，和Marti Guixe一样，

you in a way that is really about making everything pass through your mouth

有很多设计品试图让你参与其中，并且让所有的东西都从你嘴里进入。

so that you learn from your mistakes or from your taste, orally.

因此你可以通过口服尝到犯错的滋味。

The next show that I'm going to work on --

我要做的下一个展示是

and I've been bugging a lot of you about this here --

关于设计和科学间的关系的，

is about the relationship between design and science.

我已多次向你们提及这件事。

I'm trying to find not the metaphors, but, rather, the points in common --

我试图寻找的并非隐喻而是共识类的

the common gripes, the common issues, the common preoccupations --

普遍性的：当前的共同问题，当务之急。

and I think that it will enable us to go a little further in this idea of design

而我认为这一点能使我们在设计的理念上走的更远。

as an instruction, as a direction rather than a prescription of form.

使得设计成为一种启迪，一种方向而不是一种关于形式的指示。

And I am hoping that many of you will respond to this.

同时我也希望你们都能对此做出响应。

I've sent an email already to quite a few of you.

我已经向你们其中一些人发送了邮件。

But design and science and the possibility of visualizing different scales,

我们可以从不同的层面上去以形象化的方式展现二者的魅力。

and therefore, really work at the scale of the very small

这需要从很小的工作做起，

to make it very big and very meaningful.

只有这样才能做出伟大和有意义的事情。

Thank you. (Applause)

谢谢