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

翻译人员: cookie fu 校对人员: 易帆 余

Two twin domes,

两个宛如双胞胎的圆顶建筑，

two radically opposed design cultures.

两种截然相反的设计文化。

One is made of thousands of steel parts,

一个由成千上万的钢件制成，

the other of a single silk thread.

另一个由单一丝线构成。

One is synthetic, the other organic.

一个是人工合成的，另一个是有机的。

One is imposed on the environment,

一个被嵌入环境之中，

the other creates it.

另一个创造环境。

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

一个为自然设计，另一个由自然设计。

米开朗琪罗说，当他看着天然的大理石，

Michelangelo said that when he looked at raw marble,

he saw a figure struggling to be free.

他看到跃跃欲出的图案。

The chisel was Michelangelo's only tool.

米开朗琪罗唯一的工具是凿子。

但自然生物不是凿刻出来的，

But living things are not chiseled.

They grow.

它们是生长出来的。

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

在我们生命的最小单位—— 我们的细胞里，包含了

所有其他细胞得以运作和复制的信息。

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

工具也带来了一些影响。

Tools also have consequences.

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

至少自工业革命以来，我们的设计被

by the rigors of manufacturing and mass production.

制造业和大规模生产的严格标准所控制。

Assembly lines have dictated a world made of parts,

装配线主宰了一个由部件构成的世界，

framing the imagination of designers and architects

限制了设计师和建筑师的想象力。

who have been trained to think about their objects as assemblies

他们被训练设计出的作品

都由功能不同的分立部件组装而成。

of discrete parts with distinct functions.

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

但你不能在自然界中 找到同质材料的组合。

Take human skin, for example.

拿我们人类的皮肤来说，

Our facial skins are thin with large pores.

我们的面部皮肤薄，毛孔大。

Our back skins are thicker, with small pores.

我们的背部皮肤厚，毛孔小。

One acts mainly as filter,

一个主要充当过滤器，

the other mainly as barrier,

一个主要充当屏障。

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

但它是一张皮肤：没有部件，没有组装。

It's a system that gradually varies its functionality

这是一个系统，通过改变弹性

by varying elasticity.

逐渐改变它的功能。

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

这里有两个分开的屏幕， 代表我不同的世界观，

the split personality of every designer and architect operating today

以及每个设计师和建筑师设计时 两种不同的个性：

between the chisel and the gene,

凿子相对基因，

between machine and organism, between assembly and growth,

机器相对生物体，组装相对生长，

between Henry Ford and Charles Darwin.

亨利．福特相对查尔斯．达尔文，

These two worldviews, my left brain and right brain,

这两种世界观，我的左脑和右脑，

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

分析和综合， 等下会在我身后的两个屏幕上显示。

My work, at its simplest level,

我的工作，用最简单的说法，

is about uniting these two worldviews,

就是结合这两种世界观。

moving away from assembly

远离组装，

and closer into growth.

靠近生长。

各位可能会问自己：

You're probably asking yourselves:

Why now?

为什么是现在？

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

为什么不是在10年甚至是5年前？

我们生活在史上一个特殊的时期，

We live in a very special time in history,

a rare time,

一个罕见的时期。

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

在这个时期设计师可以综合运用

我们之前从未接触过的 四个领域中的工具去设计。

we've never had access to before.

这些领域分别是：运算化设计，

These fields are computational design,

让我们可以运用简单代码设计复杂事物；

allowing us to design complex forms with simple code;

additive manufacturing, letting us produce parts

增材制造，让我们可以

by adding material rather than carving it out;

通过添加材料 而不是通过凿刻生产部件；

materials engineering, which lets us design the behavior of materials

材料工程，让我们可以精细地

设计材料行为；

in high resolution;

and synthetic biology,

合成生物学

enabling us to design new biological functionality by editing DNA.

让我们可以通过编辑DNA 设计新的生物功能。

And at the intersection of these four fields,

通过综合运用这4个领域，

my team and I create.

我的团队和我进行创造。

Please meet the minds and hands

请看我学生们

of my students.

通过匠心巧手创造的作品。

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

我们设计的对象、产品、结构和工具

from the large-scale,

跨越各种规模。

like this robotic arm with an 80-foot diameter reach

大的像这个有80英尺直径的机械手臂，

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

装载在车辆上， 它在不远的将来可以打印整栋楼。

to nanoscale graphics made entirely of genetically engineered microorganisms

小的像 完全由转基因微生物制成的纳米图案

that glow in the dark.

它在黑暗里会发光。

Here we've reimagined the mashrabiya,

这里我们重塑了mashrabiya，

an archetype of ancient Arabic architecture,

阿拉伯古代建筑的原型。

and created a screen where every aperture is uniquely sized

我们创建一个屏幕， 屏幕上每个毛孔都有独特的大小，

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

当光和热穿过它们时可以形成这个图案。

In our next project,

在我们的下一个项目中，

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

我们尝试创造一件披肩和一条裙子——

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

这是和Iris van Herpen 为巴黎时装展创造的作品。

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

它像是由单一部件制成的第二层皮肤，

stiff at the contours, flexible around the waist.

硬朗的轮廓，灵活地缠绕在腰间。

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

通过和Stratasys 3D打印机 的长时间合作，

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

我们3D打印出的披肩和裙子浑然一体，没有缝线。

and I'll show more objects like it.

我会展示更多类似的作品。

This helmet combines stiff and soft materials

这个头盔结合了软硬不同的材质，

in 20-micron resolution.

具有20微米的精细度，

This is the resolution of a human hair.

这是一根头发的精细度，

It's also the resolution of a CT scanner.

也是CT扫描仪的精细度。

That designers have access

设计师运用

to such high-resolution analytic and synthetic tools,

如此高精细度的分析合成工具，

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

设计出的作品不仅符合我们身体的形状，

but also the physiological makeup of our tissues.

还符合我们组织的生理构造。

Next, we designed an acoustic chair,

接下来，我们设计了一张声学椅子，

a chair that would be at once structural, comfortable

它可以快速变型，很舒服

and would also absorb sound.

并且可以吸音。

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

卡特教授是我的合作者， 我们一起去大自然寻找灵感。

and by designing this irregular surface pattern,

通过设计这个不规则的表面，

it becomes sound-absorbent.

使这张椅子可以吸音。

We printed its surface out of 44 different properties,

我们打印了44种不同材质的这种表面，

varying in rigidity, opacity and color,

硬度、透明度和颜色都不同，

corresponding to pressure points on the human body.

并且与人体的压力点对应。

Its surface, as in nature, varies its functionality

这个表面，正如自然界的东西， 改变功能

not by adding another material or another assembly,

不是通过添加其他材料或进行组装，

but by continuously and delicately varying material property.

而是通过持续精细地改变材料属性。

But is nature ideal?

但大自然是理想的吗？

Are there no parts in nature?

大自然里有没有部件呢？

我不是生长在一个犹太教的家庭，

I wasn't raised in a religious Jewish home,

but when I was young,

但我小的时候，

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

我的祖母曾经告诉我希伯来圣经的故事。

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

其中有一个故事我一直记得 并且影响了我对很多重要事情的看法。

As she recounts:

她是这样描述的：

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

“在创世纪的第三天，上帝让地球

to grow a fruit-bearing fruit tree."

长出结实累累的果树。”

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

这第一棵果树，

between trunk, branches, leaves and fruit.

树干，树枝，叶子和果实 都没有什么区别，

The whole tree was a fruit.

整棵树就是个水果。

但从土地里长出来的树 却有树皮，茎和花。

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

土地创造了一个由不同部件组成的世界。

The land created a world made of parts.

I often ask myself,

我经常问自己：

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

“如果我们的设计作品 都由单一的部件组成将会是怎样？

Would we return to a better state of creation?"

我们会回归到一个更好的创造状态吗？”

So we looked for that biblical material,

所以我们开始寻找圣经里的那种材料，

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

类似于那种果树的材料， 然后我们找到了。

地球上第二丰富的生物聚合物叫甲壳素。

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

and some 100 million tons of it are produced every year

每年大约1亿吨的甲壳素

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

由虾、蟹、蝎子和蝴蝶生产出。

我们想如果可以调整它的属性，

We thought if we could tune its properties,

we could generate structures that are multifunctional

我们就可以从单一部件中

out of a single part.

获得多功能的结构。

So that's what we did.

所以这就是我们所做的。

We called Legal Seafood --

我们打电话给「合法海鲜」 （一间连锁餐厅店名）——

(Laughter)

（笑声）

we ordered a bunch of shrimp shells,

我们订购了一批虾壳，

we grinded them and we produced chitosan paste.

把它们磨碎，然后做成甲壳素糊。

By varying chemical concentrations,

通过改变化学浓度

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

我们可以得到许多不同的属性——

from dark, stiff and opaque,

从深色的、硬的和不透明的，

to light, soft and transparent.

到浅色的，柔软的和透明的。

In order to print the structures in large scale,

为了打印大型的结构，

we built a robotically controlled extrusion system with multiple nozzles.

我们设计了一个由机器控制的喷出系统， 具有多个喷嘴，

The robot would vary material properties on the fly

机器手臂可以在空中改变材料属性，

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

创造出这些12英尺长的结构， 全由单一材料组成，

100 percent recyclable.

100%可以回收利用。

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

当这些部件做好之后，它们自然风干

and find a form naturally upon contact with air.

并通过接触空气自然成型。

So why are we still designing with plastics?

所以我们何必还用塑料进行设计呢？

The air bubbles that were a byproduct of the printing process

这些气泡是打印过程的副产品，

were used to contain photosynthetic microorganisms

我们用来容纳光合微生物。

that first appeared on our planet 3.5 billion year ago,

这些微生物在35亿年前 第一次在我们的星球上出现，

as we learned yesterday.

就如我们昨天学到的那样。

Together with our collaborators at Harvard and MIT,

通过我们与哈佛和麻省理工学院的合作，

we embedded bacteria that were genetically engineered

我们植入基因改造过的细菌。

to rapidly capture carbon from the atmosphere

这些细菌能迅速捕获空气中的碳，

and convert it into sugar.

并将其转化为糖。

For the first time,

这是第一次，

we were able to generate structures that would seamlessly transition

我们可以无缝地

将梁状结构转变成网状结构，

from beam to mesh,

and if scaled even larger, to windows.

甚至再大一些，可以变成窗户，

或者是一棵果树。

A fruit-bearing fruit tree.

Working with an ancient material,

通过使用一种古老的材料，

one of the first lifeforms on the planet,

地球上最早的生命形式之一，

plenty of water and a little bit of synthetic biology,

足够的水以及一点点合成生物学，

we were able to transform a structure made of shrimp shells

我们可以将一个虾壳的结构转变成

into an architecture that behaves like a tree.

一个像树一样生长的建筑。

And here's the best part:

最棒的一点是：

for objects designed to biodegrade,

它们是可以生物降解的，

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

把它们放入大海， 他们可以滋养海洋生物，

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

将它们放入土壤， 它们可以帮助树木生长。

The setting for our next exploration using the same design principles

在使用同样的设计原则的前提下，

was the solar system.

我们的下一个探索目标是太阳系统。

We looked for the possibility of creating life-sustaining clothing

我们尝试探索为星际航行

for interplanetary voyages.

制造维持生命的服装。

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

要做到这一点， 我们要控制细菌并控制它们的生长趋势。

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

正如元素周期表那样， 我们想出自己的元素表：

new lifeforms that were computationally grown,

运算培养的新生命形态，

additively manufactured

增材制造的新生命形态，

and biologically augmented.

以及生物增长的新生命形态。

我喜欢把合成生物技术想成液体炼金术，

I like to think of synthetic biology as liquid alchemy,

only instead of transmuting precious metals,

只是你不是炼化贵重金属，

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

而是在非常小的管道里 合成新的生物功能。

It's called microfluidics.

这称为微流体。

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

我们3D打印了我们自己的管道，

以控制这些液体细菌的生长趋势。

of these liquid bacterial cultures.

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

在我们的第一件衣服中， 我们结合了两种微生物。

The first is cyanobacteria.

第一种是蓝藻，

It lives in our oceans and in freshwater ponds.

它生活在我们的海洋以及谈水塘中。

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

第二个是大肠杆菌， 这种细菌居住在人类的肠道中。

One converts light into sugar, the other consumes that sugar

蓝藻将光转变成糖， 大肠杆菌消耗那些糖，

and produces biofuels useful for the built environment.

并生产出对保护环境有用的生物燃料。

Now, these two microorganisms never interact in nature.

这两种细菌在自然界中从未有过互动，

In fact, they never met each other.

事实上，它们从未相遇。

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

它们在这里第一次被设计到一起，

to have a relationship inside a piece of clothing.

在一件衣服里产生了联系。

Think of it as evolution not by natural selection,

它不是自然选择的产物，

but evolution by design.

而是设计的产物。

In order to contain these relationships,

为了控制这些关系，

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

我们创建了一条类似于消化道的单管道。

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

这可以帮助这些细菌生长 并沿途改变它的功能，

We then started growing these channels on the human body,

然后我们开始在人体上种植这种通道，

varying material properties according to the desired functionality.

根据想要的功能改变材料的属性。

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

在我们需要更多光合作用的地方， 我们就设计更多的透明管道。

这是可以穿戴的消化系统， 如果将它从头到尾伸展开来，

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

spans 60 meters.

大约有60米，

This is half the length of a football field,

这是半个足球场的长度，

and 10 times as long as our small intestines.

是我们小肠长度的十倍。

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

在TED大会上我们首次展示——

our first photosynthetic wearable,

我们第一件会自行生长、

liquid channels glowing with life inside a wearable clothing.

可行光合作用、有生命的液体管道服饰。

(Applause)

（掌声）

Thank you.

谢谢。

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

玛丽.雪莱曾说： “我们是未成形的生物，只被完成了一半”

What if design could provide that other half?

那么如果设计可以提供另一半呢？

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

如果我们可以创造出 一种能扩充生物组织的结构呢？

如果我们可以创造私人的微生物群

What if we could create personal microbiomes

that would scan our skins, repair damaged tissue

能扫描我们皮肤，修复损伤的组织

and sustain our bodies?

以及维持我们身体运作呢？

Think of this as a form of edited biology.

让我们把它想成生物编辑的形态。

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

这整套称为【漫游者】的 以各行星命名的系列服饰，

was not to me really about fashion per se,

对我来说并不只是时尚本身，

but it provided an opportunity to speculate about the future

它还提供了一个机会，

让我们想象人类在地球甚至地球以外的未来。

of our race on our planet and beyond,

to combine scientific insight with lots of mystery

以及进一步地 将科学视角和很多神秘事物结合。

and to move away from the age of the machine

远离机器的时代，

to a new age of symbiosis between our bodies,

进入一个新时代，让我们的身体，

the microorganisms that we inhabit,

我们身边的微生物，

our products and even our buildings.

我们的产品甚至我们的建筑可以共生。

I call this material ecology.

我将此称为材料生态系统。

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

要做到这一点，我们永远要回归到自然。

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

目前为止，你知道3D打印机 是一层层地打印材料的，

You also know that nature doesn't.

你也知道自然并非如此。

It grows. It adds with sophistication.

自然生物生长，用非常复杂的方式。

This silkworm cocoon, for example,

比如这个蚕茧，

creates a highly sophisticated architecture,

一个高度复杂的结构，

a home inside which to metamorphisize.

一个蚕在里面羽化的家。

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

今天没有任何增材制造 可以做到这种复杂的水平。

It does so by combining not two materials,

这个蚕茧不是由两种材料组成，

but two proteins in different concentrations.

而是由不同浓度的两种蛋白组成。

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

一种做蚕茧的结构， 另一种充当粘合剂或是基质，

holding those fibers together.

然后可以将这些纤维聚到一起，

And this happens across scales.

它的规模可大可小。

The silkworm first attaches itself to the environment --

这个蚕开始时将它自己附在环境上——

it creates a tensile structure --

创建一个有张力的结构——

and it then starts spinning a compressive cocoon.

然后它开始编织一个抗压的茧。

Tension and compression, the two forces of life,

张力和压力，生命的两种力量，

manifested in a single material.

体现在一种材料中。

In order to better understand how this complex process works,

为了更好地 了解这个复杂的工程是如何运作的。

we glued a tiny earth magnet

我们将一个小的磁铁

to the head of a silkworm, to the spinneret.

粘到蚕的头部，也就是吐丝头处。

We placed it inside a box with magnetic sensors,

我们将它放到有磁感应头的盒子里，

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

这样我们就可以绘制三维点云图像，

and visualize the complex architecture of the silkworm cocoon.

并且能观察到蚕茧的复杂构造。

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

然而当我们将它放在平板上，

not inside a box,

而不是盒子里时，

we realized it would spin a flat cocoon

我们发现它会编织一个平面的茧，

and it would still healthily metamorphisize.

并且它仍然能健康地羽化。

So we started designing different environments, different scaffolds,

所以我们开始设计 不同的环境，不同的支架，

and we discovered that the shape, the composition,

我们发现这些茧的形状、成分、结构

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

都是直接受环境影响的。

Silkworms are often boiled to death inside their cocoons,

蚕通常在茧里被煮沸而死，

their silk unraveled and used in the textile industry.

它们的蚕丝被解开用在纺织工业中。

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

我们意识到设计这些模板 可以让我们塑造原始蚕丝的形状，

without boiling a single cocoon.

不用煮沸任何一个茧。

(Applause)

（掌声）

They would healthily metamorphisize,

它们还能健康地羽化，

and we would be able to create these things.

而我们能创造这样的衣服。

So we scaled this process up to architectural scale.

我们将这个过程扩大到建筑规模。

We had a robot spin the template out of silk,

我们有一个机器人 用丝线编织了一个模板，

and we placed it on our site.

然后我们将它放到我们的工作场地。

We knew silkworms migrated toward darker and colder areas,

我们知道蚕喜欢 迁移到黑暗和寒冷的地方，

so we used a sun path diagram to reveal the distribution

所以我们用阳光路径图在这个结构上

of light and heat on our structure.

显示光和热的分布。

We then created holes, or apertures,

然后我们创建了一些孔，或者说是孔径

that would lock in the rays of light and heat,

锁定光和热的射线，

distributing those silkworms on the structure.

决定蚕在这个结构上的分布。

We were ready to receive the caterpillars.

我们准备好接收毛毛虫。

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

我们从网上蚕丝农场订到6500只蚕，

喂养4周之后，它们开始为我们吐丝。

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

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

我们将它们小心翼翼地 放在支架的底部边缘，

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

它们在那里吐丝、羽化、交配、产卵，

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

然后重新开始新生命—— 就像我们人类一样，但是过程短得多。

Bucky Fuller said that tension is the great integrity,

巴基．富勒说张力有十足的完整性，

and he was right.

他是对的。

As they spin biological silk over robotically spun silk,

当它们在机器纺织的丝线上 进行生物纺织时，

they give this entire pavilion its integrity.

它们让整个建筑完整无缺。

And over two to three weeks,

在经过两到三周时间后，

6,500 silkworms spin 6,500 kilometers.

6500只蚕纺织了6500公里的丝线，

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

巧合的是，这也是丝绸之路的长度。

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

这些蛾在孵化后， 生产了150万颗蛋，

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

这些蛋以后可以用来 创造另外250个临时建筑物。

So here they are, the two worldviews.

这里是两种世界观，

One spins silk out of a robotic arm,

一个通过机器臂膀编织丝线，

the other fills in the gaps.

另一个填补其中的缝隙。

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

如果设计的最终边界是

and the buildings around us,

在我们周边的产品或建筑中注入生命，

to form a two-material ecology,

形成双材料的生态，

then designers must unite these two worldviews.

那么设计师必须结合这两种世界观。

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

当然，这让我们回到生命的起点。

这是设计的新时代、创造的新时代，

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

that takes us from a nature-inspired design

将我们从启发于大自然的设计，

to a design-inspired nature,

带到由设计唤醒的大自然。

and that demands of us for the first time

而这将首次要求我们

that we mother nature.

孕育大自然。

Thank you.

谢谢。

(Applause)

（掌声）

Thank you very much. Thank you.

非常感谢，谢谢。

(Applause)

（掌声）