Ross Lovegrove: The power and beauty of organic design

翻译人员: Manlai YOU 校对人员: Chun-wen Chen

My name is Lovegrove.

我姓 Lovegrove。我只认识九个姓 Lovegrove 的，

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

其中两个是我父母。

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

他们是四等血亲, 因此你知道出了什么事, 你知道的

(Laughter)

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

因此我有极端怪异可怕的一面，

which I'm fighting with all the time.

我一直为这争扎不已。为了今天顺利,

So to try and get through today,

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

我试着约束自己做好一个 18 分钟的演讲。

I was hanging on to have a pee.

I thought perhaps if I was hanging on long enough,

我忍着不去上厕所。

我想也许如果我忍得够久，

that would guide me through the 18 minutes.

我将可以控制在 18 分钟内讲完。

(Laughter)

（笑声）

OK. I am known as Captain Organic

好吧。我被称为「有机队长」，

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

这个称号既有哲学味道又有美学意思。

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

但是今天我想要讲的是我对形态的爱好，

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

以及形态如何感动人的灵魂和情绪。

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

不久以前，只是几千年前，

we actually lived in caves,

我们实际是住在洞穴里的，

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

我不认为我们已经丧失了那个生存密码。

We respond so well to form.

我们对形态有很好的反应，

But I'm interested in creating intelligent form.

但我感兴趣的是创造智慧的形态。

I'm not interested at all in blobism

我对于流体造形主义不感兴趣，

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

或那些被「设计」出来的肤浅的废物。

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

这些人为诱导的消费主义, 我觉得很讨厌。

My world is the world of people like Amory Lovins,

我的世界是像

Amory Lovins，Janine Benyus，詹姆士•华生的世界。

Janine Benyus, James Watson.

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

我属于那个世界，但我全凭直觉工作。

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

我不是科学家。或许曾经我能成为科学家，

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

但我在我能信赖直觉的世界中工作。

So I am a 21st-century translator of technology

所以我是 21 世纪的科技翻译者

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

醉心于将我们每日使用的商品与美及自然连结在一起。

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

我们必须发展事物

我们必须为创意发展造形, 来提升人们的知觉

for ideas which elevate people's perceptions

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

并尊敬我们取之于地球的事物

and translate into products for everyday use.

将它转换为日常生活用品。

So, the water bottle.

那么，看看水瓶。

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

我将用这个我称为 DNA 的概念起头。

DNA: Design, Nature, Art.

DNA 是指设计、自然、艺术。这三件事限定了我的世界。

These are the three things that condition my world.

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

这是一张李奥纳多•达芬奇的绘画，

画在五百年前，摄影术发明之前。

It shows how observation, curiosity and instinct

它显示了观察、好奇及直觉如何创造出神奇的艺术。

work to create amazing art.

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

工业设计是 21 世纪的艺术形式。

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

像李奥纳多这样的人 -- 虽然为数不多

had this amazingly instinctive curiosity.

都有这种惊人的好奇心本能。

I work from a similar position.

我也以相似的立场工作。

I don't want to sound pretentious saying that,

我不想让人觉得我是自夸，

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

但这是几年前我用数字板作的画 --

well into the 21st century, 500 years later.

在五百年后的 21 世纪中。

It's my impression of water.

这是我对水的印象。

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

印象派是地球上最有价值的艺术形式：

100 million dollars, easily, for a Monet.

一张莫奈的画动辄一亿美元。

I use, now, a whole new process.

现在我用全新的程序。

A few years ago I reinvented my process

几年前我再次发明了我的程序而跟上像

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

Greg Lynn, Tom Main, Zaha Hadid, Rem Koolhaas

all these people that I think are persevering and pioneering

我认为这些人都坚持保持并开拓

with fantastic new ideas of how to create form.

以奇妙的新想法来创造形态。

This is all created digitally.

这全是用数码方式创造出来的。

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

这里你看到加工方法，压克力块的车削。

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

我秀给客户看这个，告诉他：「这就是我要做的。」

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

那时我一点都不知道这是否可行。

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

那是个诱惑人的东西，而在我骨子里相信那是可能的。

So we go, we look at the tooling.

因此我们开始。我们找机具，看要如何制造。

We look at how that is produced.

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

这些是你一生中看不到的无形事物。

This is the background noise of industrial design.

这是工业设计的背景噪音。

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

那就像一件 Anish Kapoor 的雕塑品流过 Richard Serra 的雕塑品。

It is more valuable than the product in my eyes.

在我眼里，这东西比成品更有价值。我自己还没有。

I don't have one.

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

当我赚了钱，我将为自己做一个。

This is the final product.

这是最后的成品。当他们寄给我时，我以为失败了。

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

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

它没有什么感觉。它就是没有什么感觉。

It was when I put the water in

但当我将它装了水，我才体会出我为水加了一层外皮。

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

It's an icon of water itself,

它是水本身的象征，

and it elevates people's perception of contemporary design.

而且它提升了人们对当代设计的感受。

Each bottle is different,

每个瓶子都不同，意味着水位将给你不同的形状。

meaning the water level will give you a different shape.

It's mass individualism from a single product.

这是单一产品的大量个人主义。它适合手握。

It fits the hand.

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

适合患关节炎的手，适合儿童的手。

It makes the product strong, the tessellation.

凹凸使瓶子更坚固。

It's a millefiori of ideas.

这是创意的千层糕。

In the future, they will look like that,

未来它们将会是那个样子，因为我们需要从

because we need to move away from those type of polymers

这种聚合物上离开并将它用在医学仪器上，

and use that for medical equipment

and more important things, perhaps, in life.

或用在生命中更重要的事情上。

Biopolymers, these new ideas for materials,

生物聚合物，这些材料上的新构想，

will come into play in probably a decade.

将在大约十年内上场。

It doesn't look as cool, does it?

它看起来并不起眼，不是吗？

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

但我可以实现它。对我来说那并不是问题。

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

我以生物聚合物的条件来设计。这是未来趋势。

I took this video in Cape Town last year.

这是去年我在开普敦录制的影像。

This is the freaky side coming out.

这是怪异的一面出现了。

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

我对这一类能让我惊奇的事情特别感兴趣。

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

我不知道是否要～你知道的，跪下来，大叫。

I don't know what I think.

我不知道我在想什么，但我只知道自然不断地在以

But I just know that nature --

nature improves with ever-greater purpose

比既存的更伟大的目标进步着，

that which once existed,

and that strangeness is a consequence of innovative thinking.

而怪异正是创新思维的结果。

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

当我看着这些事物，它们对我来说很正常。

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

但这些事物是经过多年的演化，而现在我们试着要去做的

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

我只有三星期来设计一个电话。

我怎么能在三星期内设计一个电话呢？

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

而这些东西却用了好几亿年的时间去演化？

How do you condense that?

你如何去浓缩它呢？

It comes back to instinct.

这又回归到直觉了。

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

我不是说设计看起来像那样的电话，

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

我也不是指设计像那样的建筑。

I'm just interested in natural growth patterns

我感兴趣的只是自然的成长模式，

and the beautiful forms that only nature really creates.

以及只有自然才能创造出的美丽形态

How that flows through me and how that comes out

它如何流经我，然后得出来的

is what I'm trying to understand.

才是我试着要去理解的。

This is a scan through the human forearm.

这是人类前臂的扫描。然后利用快速成型技术放大

It's then blown up through rapid prototyping

显现其细胞结构。这些东西放在我办公室里。

to reveal its cellular structure.

I have these in my office.

My office is a mixture of the Natural History Museum

我的办公室就像自然历史博物馆和 NASA 太空实验室的混合

and a NASA space lab.

It's a weird, kind of freaky place.

那是一个怪异、有点反常的地方。

This is one of my specimens.

这是我的其中一个收藏。

This is made --

这个骨头是由无机矿物和聚合物混合制成的。

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

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

在校时我学了四年厨艺，在那个经验中，

which was called "domestic science,"

当时称为家政科学，我耍小聪明，

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

企图用它来取得科学资格。

(Laughter)

（笑声）

Actually, I put marijuana in everything I cooked --

实际上，不论煮什么我都加进大麻（笑声）

(Laughter)

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

-- 并能处在一群漂亮的女生中。快乐得像神仙。

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

那些橄榄球队的家伙是不会了解的，总之 --

Anyway -- this is a meringue.

这是蛋白甜霜。这是我的另一个样本。

This is another sample I have.

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

我推估，蛋白甜霜的组成和骨头完全一样。

It's made from polysaccharides and proteins.

它是由多糖类和蛋白质制成的。

If you pour water on that, it dissolves.

如果你浇水在其上，它会溶化。

Could we be manufacturing from foodstuffs in the future?

将来我们可能用食材来制造东西吗？

Not a bad idea. I don't know.

想法不错。但是我也不知道。我需要去和 Janine

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

及一些其他人聊聊，但直觉上我相信

but I believe instinctively that that meringue can become something,

蛋白甜霜可以变成某些东西，一辆车 -- 也许。

a car -- I don't know.

I'm also interested in growth patterns:

我也对于成长模式感兴趣：

the unbridled way that nature grows things

自然界无限制的成长方式使你毫不受到形态的限制。

so you're not restricted by form at all.

These interrelated forms, they do inspire everything I do,

这些相互联系的形态，确实激发了我做的每件事，

although I might end up making something incredibly simple.

虽然最后我做出的东西可能难以置信的简单。

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

这是我设计的镁金属椅子的细部。

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

这显示了多个要素的对话, 以及工程

and biological thinking,

和生物思维的美妙，表现出类似骨骼的结构。

shown pretty much as a bone structure.

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

任何一个组件多多少少都可以挂在墙上当艺术品。

as some kind of art object.

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

这是世界上第一个用镁制造的椅子。

It cost 1.7 million dollars to develop.

开发它花了 170 万美元。美国的 Bernhardt 公司称它为 "Go"。

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

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

它登上 2001 年时代杂志，

被喻为 21 世纪的新语言。

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

天呀！对于某些在韦尔斯某个小村庄长大的人来说，这已经足够了。

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

这说明你如何创作一个整体的形态，如汽车业，

and then you break up what you need.

然后打破你所需要的。

This is an absolutely beautiful way of working.

这绝对是一个美丽的工作方式。

It's a godly way of working.

是一个虔诚的工作方式。

It's organic and it's essential.

这是有机的，是必要的。

It's an absolutely fat-free design,

这绝对是一个无脂的设计，当你看着它时，

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

你看到人类。保佑你。

When that moves into polymers,

当那进入聚合物时，你可以变更形态的弹性，流动性。

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

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

这是一个气体注入的单件式聚合物椅子概念。

What nature does is it drills holes in things.

自然会在物体里钻洞。它解放形态。

It liberates form.

It takes away anything extraneous.

它移除任何多余的事物。而这就是我要做的。

That's what I do.

I make organic things which are essential.

我做必要的有机物品。

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

虽然它们像是搞怪，

但是我绝不是为「怪」而怪，因为我认为那是绝对丢脸的事。

because I think that's an absolute disgrace.

I set out to look at natural forms.

我的用意是要观察自然形态。

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

如果你进一步采用碎形技术的概念，拿一层薄膜，

shrinking it down constantly like nature does --

像自然一样不断地缩小它：

that could be a seat for a chair.

这可能是椅子的座位，

It could be a sole for a sports shoe.

可能是运动鞋的鞋底，

It could be a car blending into seats.

可能是一辆和座位融为一体的汽车。

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

哇！让我们去做吧！就是这样的东西。

This is what exists in nature.

这是存在自然界的东西。观察使我们现在能够

Observation now allows us to bring that natural process

把自然的过程带到日常的设计过程中。这就是我要做的。

into the design process every day.

That's what I do.

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

这是正在东京进行的一个展览。

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

它叫「超流动性」。这是我的雕塑研究。

It's like 21st-century Henry Moore.

这就像 21 世纪的亨利摩尔。看到亨利摩尔的作品，

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

你仍会惊异不已。这里也有一些令人惊讶的精神连结。

There's some amazing spiritual connect.

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

如果他是一名汽车设计师，咻，我们都会开着一辆。

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

他在世时，曾是全英国纳税最多的人。

That is the power of organic design.

这就是有机设计的力量。

It contributes immensely to our --

它极大地促进了我们的存在意识，

sense of being,

our sense of relationships with things,

我们与物品关系的意识，

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

一种我们的肉体感受，

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

甚至是社会情欲面的感受，这是非常重要的。

This is my artwork. This is all my process.

这是我的艺术品。这是我所有的工作过程。

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

这些实际上是当艺术品在卖。

它们是很大的照片。但是这就是我如何做出那个物品的。

But this is how I get to that object.

Ironically, that object was made by the Killarney process,

讽刺的是，这个物品是由基拉尼程序制成的，

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

这是一个全新的 21 世纪的程序，

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

当我这样说时，我可以听到 Greg Lynn 笑掉了他的袜子。

I'll tell you about that later.

关于这件事我晚点再告诉你。

When I look into these data images,

当我看这些数据影像时，我看到新的东西。

I see new things.

It's self-inspired.

這是自我 -- 自我启发的。双原子结构、放射虫，

Diatomic structures, radiolaria,

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

我们以往看不到的东西，但是我们现在能够做到。

these, again, are cored out.

这些又都是空心的。它们几乎不耗什么材料。

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

它们是硅土做的。为什么汽车结构不能这样呢？

Why not structures from cars like that?

Coral, all these natural forces,

珊瑚，所有这些自然力都会除去它们不需要的

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

并且它们表现极大的美。

We need to be in that realm.

我们需要这样的领域。我要做这样的东西。

I want to do stuff like that.

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

这是一张将在九月上市的新椅子，

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

是为一家叫 Moroso 的意大利公司设计的。

它是一张气体注入的聚合物椅子。

Those holes you see there are very filtered-down,

这些你看到的孔洞是经过精简，

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

简化到极致的双原子结构。

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

它随着聚合物一起流动，你会看到 --

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

有一个显示整个东西的影像现在将出现。

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

在意大利有公司愿意支持这样的梦想是一件很棒的事。

If you see the shadows that come through that,

如果你看到光线穿透它所造成的阴影效果，

they're actually probably more important than the product,

它们实际上可能比产品更重要

but it's the minimum it takes.

但是它最少是这样。

The coring out of the back lets you breathe.

背部的镂空让你可以透气。

It takes away any material you don't need

它移除了任何你不需要的材料

and it actually garners flexure too.

而它实际上也照应了弯曲，所以 --

I was going to break into a dance then.

我几乎要手舞足蹈了起来。

This is some current work I'm doing.

这是一些目前我在做的工作。

I'm looking at single-surface structures

我尝试研究的是单一表面的结构以及它们如何流动 --

and how they stretch and flow.

如何延伸和流动。这是基于家具形态，

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

但这不是最终的动机。它是铝制的，

It's made from aluminum ...

as opposed to aluminium, and it's grown.

相对于铝，它是生长出来的。

It's grown in my mind,

它生长在我的脑海里，然后它依照

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

我想过的整个流程制造出来。

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

这是两個星期前在英国科芬特里的 CCP，他们为宾特利汽车等公司制作零件。

It's being built as we speak

于我们现在谈话的同时它正在建造，

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

明年它将在纽约的 Phillips 展出。

I have a big show with Phillips Auctioneers.

我在 Phillips 拍卖公司有个大展览。

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

当我看到这些动画，天呀！我太高兴了。

This is what goes on in my studio everyday.

这些事每天都发生在我的工作室。我走开 -- 我去旅行。我回来。

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

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

有人用计算机把它弄了出来 -- 就这样，我的天！

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

所以每天我在工作室尝试制造这种发明的能量。

This kind of effervescent --

这种能传递构想的滚烫、有味的汤汁。

fully charged sense of soup that delivers ideas.

Single-surface products.

单表面产品。家具是一个很好的例子。

Furniture's a good one.

How you grow legs out of a surface.

你如何从一个表面长出脚来。

I would love to build this one day

有一天我希望能将它做出来。也许我会想用

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

面粉、糖、聚合物、木屑等来建造它 --

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

也许，人的头发。我不确定。我真想试一试。

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

我并不确定。只要我有时间。

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

我怪异的一面又跑出来了，

很多公司不理解这一点。

Three weeks ago I was with Sony in Tokyo.

三星期前我在东京 Sony 公司。他们说：「给我们一个梦想。」

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

「我们的梦想是什么？我们该如何击败 Apple？」

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

我说：「嗯，你不要抄袭 Apple，这是肯定的。」

我说：「你们可以引入生物聚合物。」他们完全忽视我所说的。

You get into biopolymers."

They looked straight through me.

What a waste. Anyway.

真是白费口舌。总之。（笑声）

(Laughter)

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

不，这是真的。他妈的。他妈的。你知道，我是说…

(Laughter)

（笑声）

I'm delivering; they're not taking.

我愿意给，他们却不要。我有这张图片已经 20 年了。

I've had this image 20 years.

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

这张 20 年来一直待在加热版上的水滴图片。

That is an image of a car for me.

对我而言这是汽车的形象。

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

未来的汽车。它是一个水滴。

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

我一 直以难以置信的方式测试它。

Cars are all wrong.

汽车全都错了。

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

我现在要让你们看一件怪异的东西。

They laughed everywhere over the world I showed this.

不管在世界上哪里当我秀给别人看时，大家都笑了。

The only place that didn't laugh was Moscow.

唯一不笑的地方是莫斯科。

汽车是由三万个零件组成的。

Cars are made from 30,000 components.

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

那是多么可笑？不能用三百个做成吗？

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

它有个真空形成的碳-奈龙底盘。所有东西都是整体整合的。

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

它就如同个汉堡面包一般打开和关上。

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

没有引擎。背面有太阳能电池板，

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

轮子里有电池。

组装就像一级方程式赛车。你从墙上取下轮子。

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

把它们插入车体。就可以快乐上路了。

A three-wheeled car: slow, feminine,

这是一辆三轮汽车：缓慢、女性化、透明，

transparent, so you can see the people in there.

你可以看到里面的人。你开车行为不同了。

You drive different.

（笑声）

You see that thing. You do. You do.

你看这东西。你看得到它。

And not anesthetized, separated from life.

你看得到，而不会晃忽、脱离生活。

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

前面有个洞，这个设计是有原因的。

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

这是一个城市车。你开它走。你出来。

You drive on to a proboscis. You get out.

你开到某个地点。你下车。它帮你升起。

It lifts you up.

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

把太阳能电池板朝向太阳，

到了晚上它是路灯。

(Applause)

（掌声）

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

但是如果你先从路灯得到灵感然后再加上汽车的设计，

and do the car second.

它就会变成下面这样。这些泡泡 --

I can see these bubbles with these hydrogen packages,

我可以看到这些泡泡和这些氢气包，

floating around on the ground, driven by AI.

漂浮在地面上由人工智能驾驶。

When I showed this in South Africa,

当我在南非发表这个时，

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

会后大家都说，「嘿，棍子上的车子。像这样。」

Can you imagine? A car on a stick.

你能想象吗？棍子上的车子。

(Laughter)

If you put it next to contemporary architecture,

如果你把它摆在现代建筑旁边，

it feels totally natural to me.

我觉得十分自然。

And that's what I do with my furniture.

我就是这样搭配我的家具的。

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

我已不再在建筑物里摆查尔斯•伊姆斯的家具了。

别提它。我们往前走。

I'm trying to build furniture which fits architecture.

我试图建造适合建筑的家具。

I'm trying to build transportation systems.

我试图建造运输系统。

I work on aircraft for Airbus,

我为空中巴士公司的飞机里里外外做设计 --

I do all this sort of stuff

我所做的这些事都在试图为这些自然的、

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

启发于自然的梦想找个家。有两件事我一定要完成。

I'm going to finish on two things.

This is the stereolithography of a staircase.

这是以立体原型法制作的楼梯。

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

某部份是向詹姆士，詹姆士•华生致敬。

I built this thing for my studio.

我为我的工作室建造这个。

It cost me 250,000 dollars to build this.

它花了我 25 万美元。

Most people go and buy the Aston Martin.

大多数人花钱买奥斯顿•马汀。我花钱做这个。

I built this.

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

这是建造的资料。难以置信的复杂。

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

花了大约两年，因为我要求无脂的设计。

Lean, efficient things. Healthy products.

精简、高效率的东西。健康的产品。

This is built by composites.

这是用复合材料建造的。这是由一个单元

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

经由环绕而创出整体单元，

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

而这是一个碳纤扶手

它只有两个支撑点。

Modern materials allow us to do modern things.

现代材料使我们能够做现代的东西。

This is a shot in the studio.

这是工作室一景。

This is how it looks pretty much every day.

它平日看起来就是这个样子。

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

下来时但愿你没有惧高症。

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

几乎没有扶手。它没有通过任何标准。

(Laughter)

（笑声）

Who cares?

谁在乎呢？

(Laughter)

（笑声）

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

是啊，它有一个内部扶手，给它强度。正是这样的全面整合。

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

这就是我的工作室。它在地下。

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

它在诺亭山，旁边龙蛇杂处 --

the prostitutes and all that stuff.

你知道的，像是妓女及所有那类的东西。

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

它就在 David Hockney 原始的工作室旁。

It has a lighting system that changes throughout the day.

它有全天自动调整的照明系统。

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

我的同事们出去吃午饭了。门是开着的。他们回来了，

因为外面通常在下雨，他们宁愿留在里面。

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

This is my studio.

这是我的工作室。来自牛津大学 1988 年的大象头骨。

Elephant skull from Oxford University, 1988.

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

我去年买了它。它们很难找到。

如果谁有鲸鱼骨骼要卖给我，我会买。

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

I'll put it in the studio.

我会把它放在工作室。

So I'm just going to interject a little bit

所以，我只是穿插稍作说明

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

影片中你会看到东西。

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

这是一个自制的影片; 我自己在凌晨三点钟录制的

just to show you how my real world is.

只是让你看看我的真实世界。你很难看到这部分。

You never see that.

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

你很难看到建筑师或设计师让你看他们的真实世界。

This is called a "Plasnet."

这个叫做 Plasnet。它是一种聚碳 --

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

我正在意大利制作的生物聚碳化合物的新椅子。

World's first bamboo bike with folding handlebars.

世界上第一台有可折把手的竹子脚踏车。

We should all be riding one of these.

我们都应该骑这种车子。

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

当中国开始买这些烂汽车时，

我们都该骑这种东西。制衡。

Counterbalance.

Like I say, it's a cross

如我说的，它横跨自然历史博物馆及

between Natural History Museum and a NASA laboratory.

NASA 实验室。它堆满了原型和物件。

It's full of prototypes and objects.

It's self-inspirational, again.

是个自我启发的地方。我的意思是，少数机会当我在这里时，

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

I do enjoy it.

我很喜欢这里，也有许多小孩会来这里 --

And I get lots and lots of kids coming.

许多许多的小孩来。

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

我是有感染力的，对那些投资银行家的小孩而言 -- 那些瘪三。

Sorry.

这 -- 对不起 -- （笑声）

(Laughter)

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

那是太阳能种子。是一个新建筑概念。

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

上面的那个东西是世上第一个太阳能发电的庭院灯 --

the first produced.

第一个生产的。Giles Revell 今天该来这里演讲的 --

Giles Revell should be talking here today --

amazing photography of things you can't see.

你看不到的事物的神奇摄影。

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

在东京为那东西所制造的第一件雕塑模型。

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

一大堆东西。这是一个小叶椅子 － 那个金色的东西叫做叶子

that golden looking thing is called "Leaf."

It's made from Kevlar.

它是以凯夫勒制成的。

On the wall is my book called "Supernatural,"

墙上是我的书, 叫做 「超自然」，

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

它让我记起我做过的事，因为我常忘记。

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

这是一块去年我在法国里蒙做的透气砖，

in Concepts for New Ceramics in Architecture.

在「建筑的新瓷器概念」中。

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

又是清晨三点钟工作 --

and I don't pay overtime.

但我不付加班费。

Overtime is the passion of design,

加班是对设计的热心，要就来否则拉倒。

so join the club or don't.

(Laughter)

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

不，这是真的。真的。像 Tom 和 Greg 这样的人

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

我们超乎常人所能的旅行个不停 － 我们配合所有行程。不知道我们如何做到的。

I don't know how we do it.

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

下星期我在瑞典的伊莱克斯公司，

然后星期五我在北京。你看看我们是如何做到的。

You work that one out.

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

但当我看了 Ed 的照片，我想，

干嘛我要去中国? 真的。

It's true. It's true.

Because there's a soul in this whole thing.

真的。因为整个当中有个灵魂

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

为了 21 世纪，我们该有新的直觉。

We need to combine all this stuff.

我们必须结合所有的东西。

If all the people who were talking over this period

如果这段时间内在交谈的所有人

worked on a car together,

一起制做一辆车，那是一种愉快，绝对很愉快。

it would be a joy, absolute joy.

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

这是我正在日本做的一个新的 X 光系统。

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

那是来自北非的 Tuareg 鞋子。那是 Kifwebe 面具。

These are my sculptures.

这些是我的雕塑。

A copper jelly mold.

一个铜制的果胶模子。

(Laughter)

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

这听起来好像是机智问答或什么的，不是吗？

So, it's going to end.

嗯，就要结束了。

Thank you, James, for your great inspiration.

谢谢，詹姆士，感谢你伟大的启发。

Thank you very much.

感谢大家。

(Applause)

（掌声）