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

譯者: Allen Kuo 審譯者: Xueqing Zhang

Two twin domes,

兩個宛如雙胞胎的圓頂建築，

two radically opposed design cultures.

兩個有著極度對比的設計文化。

One is made of thousands of steel parts,

其中一個由成千上萬個鋼鐵元件組成，

the other of a single silk thread.

另一個則由單一絲線構成。

One is synthetic, the other organic.

一個是合成的，一個則是有機的。

One is imposed on the environment,

一個被強行融入環境裡，

the other creates it.

另一個則創造環境。

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

一個是被大自然創造出來的， 另一個則設計了大自然本身。

Michelangelo said that when he looked at raw marble,

米開朗基羅曾說，當他看著原始石材，

he saw a figure struggling to be free.

他看到了一個想要掙脫束縛的體態。

The chisel was Michelangelo's only tool.

鑿子是米開朗基羅唯一的工具。

But living things are not chiseled.

但活的東西不是被鑿出來的。

They grow.

他們是長出來的。

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

在我們生命裡最小的元件， 我們的細胞乘載了所有

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

讓其他細胞得以運作 和複製的必要資訊。

Tools also have consequences.

工具也造成了一些影響。

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

至少從工業革命後，設計的世界就受到

製造和大量生產的嚴格限制所支配。

by the rigors of manufacturing and mass production.

Assembly lines have dictated a world made of parts,

裝配線帶來一個用零件組成的世界，

framing the imagination of designers and architects

限制了設計師和建築師的想像，

who have been trained to think about their objects as assemblies

他們被訓練要把他們的物件想成

of discrete parts with distinct functions.

功能不同的各種零件的組合。

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

但你在自然界中找不到 任何同性質材料是組裝而成的。

Take human skin, for example.

以人類的皮膚為例。

Our facial skins are thin with large pores.

我們的臉部肌膚較薄、孔洞較大，

Our back skins are thicker, with small pores.

背部肌膚則較厚、孔洞較小。

One acts mainly as filter,

一個主要功用是過濾，

the other mainly as barrier,

另一個主要功用是屏障。

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

但兩者是同一塊皮膚： 沒有零件、沒有組裝。

It's a system that gradually varies its functionality

它是一個藉由逐漸改變伸縮性

by varying elasticity.

來改變功能的系統。

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

這裡有兩個分離的螢幕， 代表我兩個分離的世界觀、

the split personality of every designer and architect operating today

以及今天每個設計師和建築師 進行工作時兩個分離的人格特質：

between the chisel and the gene,

鑿子對比於基因、

between machine and organism, between assembly and growth,

機器對比於有機體、組裝對比於生長、

between Henry Ford and Charles Darwin.

亨利·福特對比於查理斯·達爾文。

These two worldviews, my left brain and right brain,

這兩種世界觀、我的左腦和右腦、

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

分析和合成，會逐漸在 我背後的兩個螢幕上展開。

My work, at its simplest level,

我的工作，用最簡單的說法，

is about uniting these two worldviews,

就是結合這兩種世界觀，

moving away from assembly

逐漸離開組裝這端，

and closer into growth.

並逐漸靠近生長這端。

You're probably asking yourselves:

各位可能會問自己：

Why now?

為什麼是現在?

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

為什麼10年前、 甚至5年前都還沒辦法?

We live in a very special time in history,

我們活在歷史上一個非常特別的時刻，

a rare time,

非常罕見的時刻，

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

在這個時刻裡，四個領域 的匯合造就了設計師得以取得

we've never had access to before.

過去無法取得的工具。

These fields are computational design,

這些領域包含運算設計，

allowing us to design complex forms with simple code;

讓我們能用簡單的程式碼 設計複雜的形狀；

additive manufacturing, letting us produce parts

3D列印(疊層製造)，讓我們可以用

by adding material rather than carving it out;

疊加而非削去材料的方式製作東西；

materials engineering, which lets us design the behavior of materials

材料工程，讓我們可以非常精細地

in high resolution;

設計材料的行為；

and synthetic biology,

以及合成生物學，

enabling us to design new biological functionality by editing DNA.

讓我們可以透過改變DNA來 設計新的生物功能。

And at the intersection of these four fields,

而這四個領域的交鋒處，

my team and I create.

就是我和團隊進行創作的地方。

Please meet the minds and hands

請各位見見這些匠心和巧手，

of my students.

他們是我的學生。

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

我們設計各種規模的 物件、產品、結構和工具，

from the large-scale,

從大規模的，

like this robotic arm with an 80-foot diameter reach

例如這個臂展可達80呎的機械手臂，

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

裝載在車輛上，可以在一天 之內列印出整棟建築，

to nanoscale graphics made entirely of genetically engineered microorganisms

到奈米級、完全由基因工程 製造出的微生物所構成的圖形，

that glow in the dark.

用以在黑暗中發光。

Here we've reimagined the mashrabiya,

這裡我們賦予馬許拉比亞 (mashrabiya)新的意象，

an archetype of ancient Arabic architecture,

根據這種古老的阿拉伯典型建築風格，

and created a screen where every aperture is uniquely sized

我們創造了一扇 每個窗格都有特定大小、

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

讓穿越的光和熱有獨特形狀的屏風。

In our next project,

在下一個專案，

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

我們試著創造斗篷和裙子 --

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

為了讓Iris van Herpen 在巴黎時裝秀展出 --

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

它像是一體成形的第二層皮膚，

stiff at the contours, flexible around the waist.

外表堅硬、腰部柔軟可曲折。

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

我們和3D列印的長期合作夥伴 Stratasys公司一起，

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

印出這件完全沒有縫線的斗篷和裙子，

and I'll show more objects like it.

此外還有很多類似的物件。

This helmet combines stiff and soft materials

這頂安全帽結合了軟硬不同的材質，

in 20-micron resolution.

精細度高達20微米，

This is the resolution of a human hair.

等同人類毛髮的精細度，

It's also the resolution of a CT scanner.

也等同斷層掃描的精細度。

That designers have access

現在的設計師擁有

to such high-resolution analytic and synthetic tools,

如此高精細度的解析和合成工具，

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

讓他們得以設計出 不僅符合我們身體形狀、

but also the physiological makeup of our tissues.

還能符合我們組織的生理構造的產品。

Next, we designed an acoustic chair,

接著，我們設計了一張有聽覺的椅子，

a chair that would be at once structural, comfortable

會及時地改變結構、坐起來舒適，

and would also absorb sound.

同時還會吸收聲音。

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

我和合作夥伴卡特教授 向自然界尋求靈感，

and by designing this irregular surface pattern,

設計出這種不規則的表層紋路，

it becomes sound-absorbent.

讓它可以吸收聲音。

We printed its surface out of 44 different properties,

我們用44種不同材質印出這個表層，

varying in rigidity, opacity and color,

包含不同的硬度、透明度和顏色，

corresponding to pressure points on the human body.

分別對應人類身體 不同位置的壓力分佈。

Its surface, as in nature, varies its functionality

這個表層，正如自然界的特性，

不是靠組裝不同材料來達到不同功能，

not by adding another material or another assembly,

but by continuously and delicately varying material property.

而是靠材質不間斷而細緻的漸變。

But is nature ideal?

但大自然是理想的嗎?

Are there no parts in nature?

自然界中沒有任何零件組成的東西?

I wasn't raised in a religious Jewish home,

我不是在一個虔誠的猶太家庭中長大，

but when I was young,

但當我還小時，

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

我祖母曾跟過我說過幾個 《希伯來聖經》裡的故事，

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

其中有個故事讓我無法忘懷， 深深影響我關心的事物。

As she recounts:

如她所述：

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

「創造天地的第三天，上帝命令地球

to grow a fruit-bearing fruit tree."

長出結實纍纍的的水果樹。」

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

在這第一棵水果樹上，

並沒有樹幹、樹枝、葉子和水果的區別。

between trunk, branches, leaves and fruit.

The whole tree was a fruit.

整棵樹就是個水果。

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

但大地長出的樹上卻有 樹皮、根莖和花朵。

The land created a world made of parts.

大地創造出由不同零件組成的世界。

I often ask myself,

我經常問自己：

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

「如果每個物件都只有單一零件， 設計會變怎樣?

Would we return to a better state of creation?"

我們是否會回到 創造天地時更好的狀態?」

So we looked for that biblical material,

所以我們開始尋找那種聖經裡的材料，

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

那種類似於結實累累的水果樹 的材料，而我們也找到了。

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

全世界第二大量的 生物聚合物，叫做蟹殼質。

and some 100 million tons of it are produced every year

每年約有1億噸的蟹殼質，

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

從蝦子、螃蟹、蠍子和蝴蝶 等生物身上產生。

We thought if we could tune its properties,

我們認為，如果能 針對其特性稍加調整，

we could generate structures that are multifunctional

就能利用它形成一種結構，擁有多功能

out of a single part.

卻只有單一元件。

So that's what we did.

這是我們的成果。

We called Legal Seafood --

我們打給「合法海鮮」 (Legal Seafood，一間連鎖餐廳店名)

(Laughter)

(笑聲)

we ordered a bunch of shrimp shells,

我們訂了一批蝦殼，

we grinded them and we produced chitosan paste.

把它們磨碎，做成甲殼素糊。

By varying chemical concentrations,

透過改變化學成分的濃度，

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

我們已經可以做出 多種不同的物質特性--

from dark, stiff and opaque,

從深色、堅硬、不透明，

to light, soft and transparent.

到淺色、柔軟、透明。

In order to print the structures in large scale,

為了用大比例尺列印出這些結構，

we built a robotically controlled extrusion system with multiple nozzles.

我們建造了一個多噴嘴的 自動控制擠出系統。

The robot would vary material properties on the fly

機器手臂可以在運作中 改變材料特性，

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

製造出這些12呎長的結構， 全由單一材料構成，

100 percent recyclable.

而且100%可回收。

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

這些元件完成後，放著讓它風乾，

and find a form naturally upon contact with air.

接觸空氣時它會自然成形。

So why are we still designing with plastics?

如此我們何必再用塑膠進行設計呢?

The air bubbles that were a byproduct of the printing process

裡面的氣泡是列印過程中產生的副作用，

were used to contain photosynthetic microorganisms

我們用以容納可行光合作用的微生物，

that first appeared on our planet 3.5 billion year ago,

正如我們昨天學到的，它們約於 35億年前首次出現在地球上。

as we learned yesterday.

Together with our collaborators at Harvard and MIT,

我們和哈佛及麻省理工學院 的合作夥伴一起

we embedded bacteria that were genetically engineered

將基因改良過的細菌嵌入其中，

to rapidly capture carbon from the atmosphere

用以快速從大氣中吸取炭含量

and convert it into sugar.

並將其轉換為醣類。

For the first time,

有史以來第一次，

we were able to generate structures that would seamlessly transition

我們能夠製造出一種可以讓 梁柱和網格無接縫地相連的結構，

from beam to mesh,

and if scaled even larger, to windows.

而如果再放大，甚至可以再和窗戶結合。

A fruit-bearing fruit tree.

整棵都是水果的水果樹。

Working with an ancient material,

利用這種古老的材料 --

one of the first lifeforms on the planet,

地球上最早出現的幾種生命型態之一，

plenty of water and a little bit of synthetic biology,

加入許多水分、用一些合成生物技術，

we were able to transform a structure made of shrimp shells

我們能夠將蝦殼做出的結構，

into an architecture that behaves like a tree.

轉變為像樹木般運作的建築。

And here's the best part:

最棒的部分是：

for objects designed to biodegrade,

像這樣可以自動分解的物件，

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

把它們放進海裡，可以滋養海洋生物；

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

放進土壤裡，就可以幫助樹木生長。

The setting for our next exploration using the same design principles

下一個我們打算用 同樣設計原則進行探索的

was the solar system.

是太陽系的設置。

We looked for the possibility of creating life-sustaining clothing

我們嘗試創造為星際旅行創造的

for interplanetary voyages.

維持生命的服飾。

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

為了達成這個目標，我們必須裝入細菌， 還要能夠控制他們的流動。

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

所以像元素週期表一樣， 我們想出了自己的元素表：

new lifeforms that were computationally grown,

運算增長的新生命型態，

additively manufactured

3D列印的新生命型態，

and biologically augmented.

和生物增強的新生命型態。

I like to think of synthetic biology as liquid alchemy,

我喜歡把合成生物技術 想成液體的煉金術，

only instead of transmuting precious metals,

只是它不是在煉化貴重的金屬，

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

而是在非常小的管道裡 合成新的生物機能。

It's called microfluidics.

稱為微流體(microfluidics).

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

為了控制這些液體培養菌的流量， 我們3D列印出自己的管道。

of these liquid bacterial cultures.

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

在我們的第一件服飾中， 我們結合了兩種微生物。

The first is cyanobacteria.

第一種是藍菌門(cyanobacteria)，

It lives in our oceans and in freshwater ponds.

生長在海洋和淡水的池塘裡。

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

第二種是大腸桿菌， 一種住在人體內臟中的細菌。

One converts light into sugar, the other consumes that sugar

它們一個負責將光線轉化為醣類， 另一個則消耗這些醣類，

and produces biofuels useful for the built environment.

用以製造在我們建造的環境裡 需要的生物燃料。

Now, these two microorganisms never interact in nature.

然而，這兩種微生物 在自然界中並沒有互動。

In fact, they never met each other.

事實上，它們根本不會相遇。

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

在這裡，它們是第一次被改良，

to have a relationship inside a piece of clothing.

在一件服飾裡和彼此產生關聯。

Think of it as evolution not by natural selection,

請把這件事情想像成進化， 而非物競天擇，

but evolution by design.

只是它是透過設計來進化。

In order to contain these relationships,

為了讓這些關聯得以存在，

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

我們創造了一種類似消化道的管道，

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

讓這些細菌可以流動， 並沿路改變他們的功能。

We then started growing these channels on the human body,

然後我們開始讓這些管道 在人體上增長，

varying material properties according to the desired functionality.

並根據想要的功能變化材料特性。

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

在需要更多光合作用的地方， 我們就設計更透明的管道。

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

如果我們把這個穿戴式的 消化系統從頭到尾拉直，

spans 60 meters.

可以展開60公尺，

This is half the length of a football field,

相當於半個足球場的長度，

and 10 times as long as our small intestines.

也是我們小腸的10倍長度。

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

在這個TED大會上我們首次展示--

our first photosynthetic wearable,

我們的第一件，由有生命、會成長的 液體管道構成，可行光合作用的服飾。

liquid channels glowing with life inside a wearable clothing.

(Applause)

(掌聲)

Thank you.

謝謝各位。

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

作家瑪莉·雪萊曾說： 「我們是未成形的物種，只被完成一半」

What if design could provide that other half?

如果設計能提供另外一半， 一切會變怎樣呢?

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

如果我們能創造出 可以增強有機體的結構呢?

What if we could create personal microbiomes

如果我們能創造出一種 人體微生物群(microbiomes)，

that would scan our skins, repair damaged tissue

可以掃描我們的皮膚、 修復受到傷害的組織、

and sustain our bodies?

讓身體可以持續運作呢?

Think of this as a form of edited biology.

把這些想成生物編修的一種型態。

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

這整套稱為「漫遊者」、 分別由各星球名稱命名的系列服飾，

was not to me really about fashion per se,

對我而言，重點並不是時尚本身，

but it provided an opportunity to speculate about the future

而是提供我們一個機會，

思索我們的星球上的各個種族 的未來，以及更遙遠地，

of our race on our planet and beyond,

to combine scientific insight with lots of mystery

結合科學充滿神秘的發現，

and to move away from the age of the machine

讓我們遠離機器製造的時代，

to a new age of symbiosis between our bodies,

來到一個我們的身體可以和身邊的微生物、

the microorganisms that we inhabit,

our products and even our buildings.

各種產品、甚至建築物共生的時代。

I call this material ecology.

我稱之為材料生態系統。

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

要達成這個目標， 我們永遠需要回歸自然。

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

現在，你知道3D列印 是用層疊的方式印出材料。

You also know that nature doesn't.

你也知道，自然界並非如此。

It grows. It adds with sophistication.

自然生物成長，用非常複雜的方式。

This silkworm cocoon, for example,

例如這個蠶繭，

creates a highly sophisticated architecture,

它形成一個高度複雜的建築物，

a home inside which to metamorphisize.

一個可以在裡面羽化成蛾的家。

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

當今沒有任何3D列印技術 可以做到接近這樣的複雜度。

It does so by combining not two materials,

它不是靠兩種材料的結合，

but two proteins in different concentrations.

而是兩種不同濃度的蛋白質。

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

其中一種做為基本架構， 另一種則當成膠、或是線路網，

holding those fibers together.

將這些纖維夾在一起。

And this happens across scales.

它的規模可大可小。

The silkworm first attaches itself to the environment --

蠶會先將自己依附於環境中 --

it creates a tensile structure --

製造一個高張力的結構 --

and it then starts spinning a compressive cocoon.

接著開始吐絲，製造一個抗壓的繭。

Tension and compression, the two forces of life,

張力和壓力，生命中的兩種力量，

manifested in a single material.

透過單一材料充分展現。

In order to better understand how this complex process works,

為了更加瞭解這個 複雜的過程如何進行，

we glued a tiny earth magnet

我們黏了一塊小小的磁鐵

to the head of a silkworm, to the spinneret.

在蠶的頭上，吐絲器的位置。

We placed it inside a box with magnetic sensors,

我們將它放在一個裝有 磁鐵感應器的盒子裡，

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

讓我們可以建立這個3D點群模型，

and visualize the complex architecture of the silkworm cocoon.

把蠶繭的複雜結構視覺化。

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

然而，當我們將蠶放在平面的墊片上，

not inside a box,

而非盒子裡時，

we realized it would spin a flat cocoon

我們發現它會吐出一個平面的繭，

and it would still healthily metamorphisize.

而且還是可以健康地進行羽化。

So we started designing different environments, different scaffolds,

所以我們開始設計 不同的環境、不同的支架，

and we discovered that the shape, the composition,

我們發現繭的形狀、成分和架構，

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

是直接受到環境影響的。

Silkworms are often boiled to death inside their cocoons,

蠶通常在繭裡被煮沸至死，

their silk unraveled and used in the textile industry.

他們的絲線被拆開並用至紡織產業。

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

我們發現設計這些模板 可以讓我們塑造蠶絲原料的形狀，

without boiling a single cocoon.

不用煮沸任何一個蠶繭。

(Applause)

(掌聲)

They would healthily metamorphisize,

它們還是可以健康地羽化成蛾，

and we would be able to create these things.

而我們則可以創造出這些東西。

So we scaled this process up to architectural scale.

我們將這個流程的規模 放大到建築物的大小。

We had a robot spin the template out of silk,

我們用一台機器 自動吐出蠶絲做成的模板，

and we placed it on our site.

並將它放在我們的工作場地。

We knew silkworms migrated toward darker and colder areas,

我們知道蠶會移動到 比較陰暗寒冷的區域，

so we used a sun path diagram to reveal the distribution

所以我們用陽光路徑圖

顯示我們這個結構中的光線和熱能分佈狀況。

of light and heat on our structure.

We then created holes, or apertures,

然後我們製造一些孔洞、或者光圈，

that would lock in the rays of light and heat,

鎖定光和熱的射線，

distributing those silkworms on the structure.

決定蠶在這個結構中的分佈狀況。

We were ready to receive the caterpillars.

然後，我們準備好迎接這些蟲了。

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

我們從線上蠶絲公司訂了6,500隻蠶。

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

經過四週的餵養， 它們已經準備好為我們吐絲了。

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

我們將它們小心地 放置在支架底部的圓環上，

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

它們在上面吐絲、蛹化、交配、下蛋，

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

然後生命重新開始 -- 就跟我們一樣，只是週期縮短很多。

Bucky Fuller said that tension is the great integrity,

巴奇·富勒曾說， 張力具有十足的完整性。

and he was right.

他是對的。

As they spin biological silk over robotically spun silk,

當它們在將天然蠶絲 吐在機器吐出的蠶絲上時，

they give this entire pavilion its integrity.

它們讓這整個圓頂完整無缺。

And over two to three weeks,

在兩到三週後，

6,500 silkworms spin 6,500 kilometers.

6,500隻蠶吐出了6,500公里的蠶絲。

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

這也相當於絲路的長度， 形成一個奇妙的對稱。

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

在他們孵化的幾個月後， 總共生出1,500萬個卵，

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

可以再造出250個相同的圓頂建築。

So here they are, the two worldviews.

所以就在這裡，兩個世界觀。

One spins silk out of a robotic arm,

一個從機器手臂中吐出蠶絲，

the other fills in the gaps.

另一個填滿其中的縫隙。

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

如果設計最後的邊界是讓生命 流入我們周遭的產品和建築物裡，

and the buildings around us,

to form a two-material ecology,

形成一個兩種材料的生態，

then designers must unite these two worldviews.

那設計師就必須將這兩種世界觀結合。

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

這也讓我們回到，當然，一切的起點。

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

這是設計的新紀元， 也是造物的新紀元，

that takes us from a nature-inspired design

將我們從啟發於大自然的設計，

to a design-inspired nature,

帶到由設計喚醒的大自然。

and that demands of us for the first time

而這將是首次需要我們

that we mother nature.

孕育整個大自然。

Thank you.

謝謝各位。

(Applause)

(掌聲)

Thank you very much. Thank you.

非常感謝各位。謝謝。

(Applause)

(掌聲)