Paola Antonelli: Treating design as art

譯者: Valter Wei 審譯者: Adrienne Lin

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

凡是有信仰的人，都會有對於天堂模樣的猜想。

And in my idea, heaven is satisfied curiosity.

在我看來，天堂就是好奇心得到滿足。

I think of heaven as a really comfortable cloud

我把天堂想像成一朵非常舒適的雲朵，

where I can just lie down with my belly down,

我可以躺在上面 —— 腹部朝下，

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

就像我小時候看電視的姿勢，手肘還要撐著頭。

And I can basically look everywhere I want,

我可以欣賞任何我想看的地方，

see every movie I've always wanted to see.

看每一部我喜歡的電影。

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

有時你也會有如此出神的感覺 ——

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

在紐約的地鐵上閱讀的時候，

there's something really soothing and easy.

你會感覺到怡人且輕鬆的氣氛。

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

有趣的是，從某種程度上看，我已經擁有了這種「天堂般的生活」。

because I discovered ...

因為我發現 ——

it took me a while to understand it,

當然我花了一段時間釐清這點，

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

當我在24歲的時候，我發現自己和藝術品在一起

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

比跟人在一起感覺更好，而後我決定要充分發揮這種熱情。

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

所以我基本上生活在一種陶醉的狀態中。

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

而當我環顧四周時，我看到的一切都僅是一段悠久故事的開端。

Just to give you an example:

舉個例子：

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

2004 年，MoMA 舉行了名為「日常設計經典」的展覽。

We were in Queens,

當時我們在皇后區，

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

我們在市中心建一幢很大很大的建築，

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

所以我們在一個很小很小的偏僻角落。

That was one of the funnest moments of my career.

那是我的事業中饒富生趣的時刻。

But it's not only that.

不只是這樣，

The typeface -- the typeface is Helvetica;

還有字體 —— Helvetica 字體。

it's its 50th anniversary this year.

今年是 Helvetica 字體誕生的50週年。

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

因此我開始想：Max Miedinger，以及其他所有的瑞士設計師，

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

試圖超越 Akzidenz Grotesk，設計出一種嶄新的無襯線字體。

and the movie starts playing in my head already.

電影的情節已經開始在我腦中播放了。

And of course, you can imagine, with Humble Masterpieces

當然，你可以想像「日常設計經典」

it was the same thing multiplied by a hundred.

是被複製上百次的相同東西。

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

而同時我確實希望，這個展覽的真正目的

is going to have the same effect on you.

會給予你們相同的影響。

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

展覽旨在成為一種讓孩子們思考所做的事情的方式 ——

you know when they do homeworks at home?

我們希望他們在家裡做作業的時候，

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

不要拿著課本背誦，我希望他們能夠

into the kitchen cabinet or the mother's handbag

走進廚房看看櫥櫃，或者他們母親的手提包，

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

來做博物館級的設計收藏。

So, everybody's always suggesting new humble masterpieces,

因此每個人都一直在提議設置新的「日常設計經典」。

and at MoMA we put out some books

在 MoMA 我們放了些書在那，

just for people to suggest their own humble masterpieces.

僅僅是為了讓人們就他們眼中的「日常設計經典」給出建議。

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

通常實行的時候，收到的有80%是色情廣告，只有20%是真正的建議。

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

不過，幾乎所有的建議都是好的建議。

And a lot of nationalism came in.

而民族情感也開始盛行起來。

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

比如說，我之前並不知道是西班牙人發明了拖把，

but they were very proud

但是他們為此非常自豪。

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

因此每個西班牙人說 "la frego"。而義大利人對披薩也是同感。

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

但我想給你們看的是，來自肯塔基非常好的建議：

they had moonshine, laundry detergents and liquid nails.

他們有私釀酒，洗衣精，以及免釘膠。

And I keep it going, and I just got,

然後繼續，我剛剛得到了 ——

(Laughter)

（大笑）

also, this suggestion from Milan:

這個來自米蘭的提議：

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

這是我們的交通分隔物，我們叫做 panettone，是有上漆的。

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

你知道，這些漂亮的混凝土做的東西在米蘭

to define all the lanes of traffic.

是用來區分交通線路的。

So, think of your own,

因此想像自己國家的東西吧，

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

可以的話，讓我們知道那些東西 — 我們永遠歡迎。

But an exhibition like that made me understand even more

但是這樣的一個展覽讓我學到的

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

比我進入MoMA工作後，思考的13年裡還要更多。

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

我是義大利人。在義大利，設計俯拾即是。

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

要知道，不同的地方的人對事物的喜好差異甚大。

I was just recently in Argentina and in Uruguay,

不久之前，我在阿根廷和烏拉圭，

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

在這些國家，建造房屋的普遍方式有著漂亮的現代感，

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

在別處可是找不到的，但兩個國家的現代藝術發展其實很糟糕。

In Italy, in Milan especially,

在義大利，特別是在米蘭，

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

現代藝術其實並不普遍。

But design -- oh, my God.

但是設計呢 —— 老天！

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

不用去高級商場，你在隨處一個商店的角落發現的，

is the kind of refined design that makes everybody think that

是精緻的設計，會讓每個人都以為

we are all so sophisticated.

我們的設計是如此時髦。

It's just what you find at the store.

這還僅僅是你在商店之中發現的東西。

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

而紐約對現代藝術有著另一種偏好。

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

我對此一向非常吃驚：三歲的孩子知道 Richard Serra 是誰，

and take you to the galleries.

還會帶你去看藝術展覽。

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

但是設計，處於某種原因，仍被大眾誤解為裝飾性質。

It's really interesting:

這一點確實很有趣。

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

當我提到「設計」這個詞的時候，很多人覺得

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

意味著一種過度設計 — 在此例中，確實是刻意的設計 —

decoration, interior decoration.

但是裝飾方面，室內裝飾，

They think of somebody choosing fabrics.

他們會認為是某個人在挑選建築材料。

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

當然，你可以那樣子去理解設計。但也可能是別的，

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

可能是在耶路撒冷的一個設計學校找出更好的方法

to design gas masks for people,

來為人們設計防毒面具。

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

因為如你們所知道的，以色列給每個人配置了防毒面具，連嬰兒也不例外。

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

因此，這些設計師所做的就是找到一個方法降低領口，

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

如此，使用者就不會被勒的喘不過氣來，甚至青少年可以帶著面具吸可樂。

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

當地人這樣設計嬰兒的防毒面具是基於

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

嬰兒可以被其父母保護著 —— 因為身體的親近是如此重要 ——

And then they make a little tent for the baby.

然後他們能為孩子做個小帳篷。

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

不管你們覺得這有多麼的粗淺與簡陋，這確實是一個非常好的設計。

and it is miles away from the fancy furniture,

雖然和設計奢華家具相距甚遠，

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

但仍然是我的熱情所在。

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

我從始至今在 MoMA 做的是試著

harness the power of MoMA

運用 MoMA 的能力。

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

因為在那裡工作實在很棒 —— 真的有種神奇魔力，

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

能讓人們得知你的展覽或是來觀看。

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

而這種能力，因為是在一個設計博物館，不太可能有很多遊客來。

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

我非常清楚八成的觀光客都是去看畢卡索和馬蒂斯。

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

要是他們剛好來到我們的展區，我就設法讓他們駐足觀賞。

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

但我嘗試在做的，也是在我的部門中

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

的 MoMA 策展人自博物館於 1929 年建立以來，一直在做的事。

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

也就是嘗試並發現當今世間發生的事，

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

並且利用設計的力量使事物更加美好。

There have been many episodes,

有很多例子 ——

and actually Eames Demetrius may be here in the audience,

實際上 Eames Demetrius 可能正好就坐在觀眾席。

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

但是從他的曾祖父，還有祖父的例子來看，

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

我總是不擅長釐清這種關係。

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

但是，Charles Eames 第一次，接著 Charles 和 Ray Eames 第二次，

were involved in two competitions:

都參加了二個比賽。

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

一個是在 1940 年，這是關於有機家具的比賽。而第二個在 1948 年，

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

是為從戰場歸來的美國士兵們設計低成本的家具，

that then sparked a whole line of furniture.

這也激起了整個家具產業的火熱。

And then there was good design for very low price.

那個時候就有非常低價的優良設計。

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

在建築學和設計學上出現很多項目，

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

讓大眾導向「設計讓生活更美好」的思維。

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

所以呢，我從 1995 年就開始辦這個展覽，叫做

Mutant Materials in Contemporary Design.

「創新材料與當代設計」。

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

我認為在設計界，這是一個新的階段

in that materials could be customized by the designers themselves.

材料可以讓設計師們運用自如。

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

而這也讓我接觸到了多樣的設計案例，比如

from the Lawrence Livermore Lab in California;

加州 Lawrence Livermore 實驗室的氣凝膠。

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

那時，這些產品才開始被推廣進入市場。

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

同時，石黒猛有個很棒的作品，

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

他用米團製成這些漂亮的鹽罐和胡椒罐。

So you see, the range is really quite diverse.

所以，你們看，這些設計涵蓋的範圍相當廣闊。

And then, for instance, this other exhibition

再說明 2001 年的另一個展覽，

that was entitled Workspheres in 2001,

標題名為「工作環境」。

where I asked different designers to come up with ideas for

在那我請形形色色的設計師們腦力激盪，

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

思考方向是當時世界上新穎的工作風格。

And you see IDEO there.

你們現在看到的是由 IDEO 所設計，

It was beautiful -- it was called Personal Skies.

很漂亮，名喚「個人天空」。

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

它的構思在假設你有個小臥室，你可以放一片天空

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

在你頭頂上，就有了自己的 "Cielo in Una Stanza" — 房裡的藍天。

it's a very famous Italian song.

是首非常著名的義大利歌曲。

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

還有更多範例。Marti Guixe 關注的是在行動工作。

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

Hella Jongerus，我最喜歡的設計師，關注的是如何在家工作。

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

而這不禁讓我想要介紹一個非常重要的設計理念。

designers are the biggest synthesizers in the world.

設計家是世界上最主要的「統合者」。

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

他們最出色之處就是結合人類需求、

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

以及在經濟、材料、可持續性議題等現況。

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

而他們最終的成品，如果做得好，

is much more than the sum of its parts.

將遠優於僅有一部分的集合。

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

而 Hella Jongerius 能將統合這回事

that is really quite amazing

做得很令人驚豔，

and also quite hilarious.

更饒富生趣。

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.

當每個人都主張「劃清工作與休閒的界線」的時候，

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

她卻主張「不不，工作和休閒可以共存的。」

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

真的，這棒透了，就如同 2001 年的流行的電視餐。

There have been many other exhibitions in the meantime,

雖然還有很多其他的展覽，

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

但我不想完全只關注我的展示。

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

我想談一些偉大的設計師們。

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

我一直都對獨行俠 (maverick) 一詞頗為不解，

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

你知道，13 年前我到美國，直到今天，

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

我還在問，這是甚麼意思呢？

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

所以今天早上，我翻開字典，上面講到

there was this gentleman that was not branding its cattle.

有個名叫Maverick的牧場主人沒在自己的牲口烙印，

Therefore, he was not following everybody's lead,

因此可以說他没有跟隨他人的主流。

and therefore, he was a maverick.

因此，他就是個「獨行俠」。

So, designers do need to be mavericks,

所以你們瞭解，設計師們的確需要特立獨行，

because the best way to design a successful object --

因為設計一件成功的物品

and also an object that we were missing before --

以及我們曾想望過的物品時

is to pretend that either it never existed

最佳方式就是當它從未存在，

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

或者相信人們使用新物品之後會有新的行為。

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

「安全」是我在 MoMA 最近完成的展覽。

and it ended at the beginning of last year.

它在去年初結束，

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

這一展覽是處理安全以及保護的設計。

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

說來話長，因為它在 2001 年前就開展了，當時叫做「救難」。

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

而當時正好發生 911 事件，我大吃一驚，隨後便撤了展。

until, slowly but surely, it came back --

直到我們按部就班地重新開展，

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

就像從「半空的杯子」變成「半滿的杯子」 一般，

and it was about protection and safety.

我們將主題調整成「保護與安全」。

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

展覽的範圍從一套完整的除雷設備

these kind of water-sterilizing straws,

到水質淨化消毒管道。

so it was really wide-ranging.

領域非常廣泛。

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

還有我和 Cameron 的小小合作。

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

他網站上的一些東西也在這展覽中出現了。

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

有趣的是，我們並不需要再刻意地討論設計和藝術了。

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

設計使用它所能用到的一切工具來說明一個觀點。

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

這是一種經濟啓示，也是一種幽默感的體現。

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

這是來自南非的 Ralph Borland 的一件非常漂亮的設計。

It's a suit for civil disobedience.

一個為非暴力反對運動設計的外套。

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

設計的理念是當你在參加抗議遊行時，

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

警察靠近你了，而你正穿著這件外套。

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

外套的外型就像一顆大心臟，而它在你心臟的位置有一個擴音器，

so your heartbeat is amplified --

這樣你的心跳聲就被放大了。

and the police is reminded;

而警察也會發覺這點 ——

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

就像一朵鮮花在來福槍口前一樣。

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

而且，你可以想像，當一群人同時穿著這種外套，

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

集體的心跳聲會嚇到警察。

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

設計家們有時並不製作一些有即刻功能性的事物，

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

但是卻能幫助我們理解事物。

Tony Dunne and Fiona Raby

Tony Dunne 與 Fiona Raby，

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

設計了一系列可以反映我們的痛苦與妄想情緒的物品。

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

像這種可以隱藏的家具，以和地板相同的木材製作，

so it disappears completely and you can hide away;

所以它看起來是完全隱形，你也可以把它藏起来。

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

還有更棒的，可以拿來抱的蘑菇雲。這個發現也讓我

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

有幸在美國《原子科學家公報》上發表文章。

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

我不認為有任何在 MoMA 之前的先例。

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

而這把法拉第座椅可以保護你避免輻射的侵害。

But the interesting thing in the exhibition is the discovery that

但是展覽中有趣的事是發現

the ultimate shelter is your sense of self,

終極的遮蔽物就是你的自我意識。

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

然後已經有一些設計家開始在這個特殊的領域上作業。

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

來自荷蘭的設計家 Cindy van der Bremen，

that's done this series of Capsters.

設計了一系列的運動服裝。

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

能讓穆斯林婦女滑雪、打網球

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

做他們想做的運動，而不用擔心暴露自己。

And sometimes by doing this kind of research,

有的時候，做這種研究

you encounter such beautiful ideas of design.

讓你有機會發現極好的設計理念。

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

Twan Verdonck 非常年輕，我想他現年是 27 歲。

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

通過與心理學家合作，他做了一系列的玩具，

stimulation for children that have psychological impairments.

可以讓有精神缺陷的孩子起到感官刺激的作用。

They're quite beautiful.

這些玩具真的棒極了。

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

這個毛絨玩具就好像要抱著你一樣，

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

因為自閉症的孩童喜歡被緊緊擁抱，所以它四處都裝有彈簧

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

還有鏡子，這樣孩子就能透過鏡子看到自己，

in the mirror and regain a sense of self.

而重新獲得歸屬感。

Design really looks upon the whole world

設計其實是看待整個世界的一種模式。

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

並從不同的領域角度思考。

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

前不久，我在伊斯坦堡參加《國際先驅論壇報》舉辦的，關於奢華品的會議

And it was really interesting because I was the last speaker

這很有意思，因為我是最後一個講者，

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

而在我之前，確實大家都在談論奢侈品。

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

我並不想成為一個在聚會上掃興的人，可是同時

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

我又覺得我必須將話題拉回至現實。

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

事實是奢侈其實有很多種，

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

對於沒有太多奢侈品的人們來說，奢侈是相對的。

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

為了說明這一點，我會舉兩個例子，

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

靈感都來自於經濟學，界限非常清楚。

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

這個是在古巴，這是一個可循環的吱吱叫的自行車鈴玩具。

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

而這個呢，是用裝稻米的粗布袋製成的雨衣。

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

它們都很美觀，但是美觀源於

they're so smart and economical.

靈活且經濟的設計。

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

現在看到的是來自聖保羅的兩兄弟

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

Fernando 和 Humberto Campana 的作品。他們受到其身邊的貧窮景象

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

和生活智慧的啟發，製作了一件件家具，

selling for an enormous amount of money.

現在賣出了一大筆錢。

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

而這也正是市場本身的驚奇之處。

So really, design takes everything into account,

說真的，設計包羅萬象。

and the interesting thing is that as the technology advances,

有趣的是，隨著技術的進步，

as we become more and more wireless and impalpable,

當我們的模式變得越加無線和虛擬的時候，

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

設計師們卻希望我們能親手實際做些事。

Sometimes hammer-on.

有時候，還會要你善用工具。

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

你看，這一套家具需要你動手才能用。

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

即使是這把椅子，你也需要親手張開好坐在上面，

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

這樣它就留下了你的烙印。這一系列漂亮的物品

that are considered design by Ana Mir in Barcelona.

都是巴塞隆納的 Ana Mir 設計的。

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

作品從人的毛髮製成的耳環，到巧克力乳頭，

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

甚至是趾間糖果，能引誘你的情人去舔你的腳趾。

(Laughter)

（大笑）

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

這些設計都非常美，這都是設計的燦爛時刻。

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

很多年前，我聽說了一位維也納一個名叫 Marchetti 的數學家，

explain how the innovation in the military industry --

他解釋在軍事生產部門的創新

therefore, secret innovation -- and the innovation in the

是秘密的創新。而這一創新

civilian society are two sinusoids that are kind of opposed.

和常民社會的創新就像兩條相反的正弦曲線。

And that makes sense.

這是有道理的，

In moments of war there's great technological innovation,

在戰時，技術創新層出不窮。

and in the world you have to do without --

但是在物資匱乏的社會裡，

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

比如在二戰時期，你得面對鋼鐵匱乏

you had to do without aluminum.

或是鋁礦匱乏的情況。

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

而當和平時代開始，所有的這些技術突然之間

available for the civilian market.

都可以被民間市場所利用了。

Many of you might know that the Potato Chip Chair

在場很多人大概都聽過馬鈴薯片座椅，

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

由 Charles 和 Ray Eames 設計的，這是其中一個例子。

fiberglass was available for civilian use all of a sudden.

玻璃纖維也突然能在民間廣泛使用。

I think that this is a strange moment.

我想這是一個奇怪的時刻。

The rhythm of the sinusoids has changed tremendously,

正弦曲線的週期性發生了巨大的變化，

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

就如同我們的生活節奏在過去 25 年的巨變一般。

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

因此我不再確信波長有多長。

But it surely is a very important moment for design,

但這實在是設計領域一個非常重要的時刻。

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

不僅是科技發展，像電腦技術

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

使「開源」在設計界中成為可能，

but also the idea of sustainability --

更包含永續發展的理念 ——

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

不僅是從碳足跡的觀點出發的永續性，

but also sustainability of human interrelationships --

還有人類相互關係的永續性。

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

這已成為現在很多設計師工作的一部分。

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

這也是為何設計師們越來越關注由設計引致的行為改變，

rather than on objects.

而非單純看物品本身。

Especially the good ones, not all of them.

特別是優秀的設計師，雖然不是個個都如此。

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

我想讓你們看看 Mathieu Lehanneur 的作品，

which is quite fantastic.

它非常奇特。

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

他是另一位來自法國的年輕設計師，

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

他現在和製藥公司合作，

on new ways to engage patients, especially children,

設計新的方法讓病人們，特別是兒童，

in taking their medicines with constancy and with certainty.

能持續並定時服藥。

For instance, this is a beautiful container for asthma medicine

舉例來說吧，這是一個裝哮喘藥的漂亮瓶子，

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

到該服藥的時候，它就會自動地膨脹開來。

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

這樣孩子就會去打開藥瓶，同時讓它消氣。

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

而另外這種藥，可以讓你在皮膚上塗鴉。

so intradermal delivery enables you to joyfully be involved

透過皮膚接觸的服用方式會讓你愉悅地投入到

in this particular kind of delivery.

這種特別的服藥過程中。

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

相似地，例如 Marti Guixe，有很多設計品試圖讓你參與其中，

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

方法就是讓所有的東西都要透過你的口腔。

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

因此你可以通過口服嘗到犯錯的滋味。

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

我要做的下一個展覽主題，

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

我剛剛一直提到的

is about the relationship between design and science.

是設計和科學間的關係。

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

我試圖尋找的並非象徵，而是共同點：

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

共同的抱怨、共同的問題、共同的關注。

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

而我認為這一點能讓我們在設計理念上走得更長遠，

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

讓設計成為一種啟發，一種方向，而非制式指令。

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

同時我也希望你們都能發表回應。

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

我已經向你們其中一些人發了信。

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

我們可以形象不同的層面以展現「設計與科學」的魅力。

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

因此，這需要從小事開始，

to make it very big and very meaningful.

才能做出偉大且有意義的事情。

Thank you. (Applause)

謝謝！