Ross Lovegrove: The power and beauty of organic design

譯者: Manlai YOU 審譯者: Bill Hsiung

My name is Lovegrove.

我姓 Lovegrove。我只認識九個姓 Lovegrove 的，

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

其中兩個是我父母。

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

他們是四等血親, 因此你知道出了什麼事, 你知道的

(Laughter)

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

因此我有極端怪異可怕的一面，

which I'm fighting with all the time.

我一直為這爭扎不已。為了今天順利,

So to try and get through today,

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

我試著約束自己做好一個 18 分鐘的演講。

I was hanging on to have a pee.

I thought perhaps if I was hanging on long enough,

我忍著不去上廁所。

我想也許如果我忍得夠久，

that would guide me through the 18 minutes.

我將可以控制在 18 分鐘內講完。

(Laughter)

（笑聲）

OK. I am known as Captain Organic

好吧。我被稱為「有機隊長」，

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

這個稱號既有哲學味道又有美學意思。

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

但是今天我想要講的是我對形態的愛好，

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

以及形態如何感動人的靈魂和情緒。

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

不久以前，只是幾千年前，

we actually lived in caves,

我們實際是住在洞穴裡的，

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

我不認為我們已經喪失了那個生存密碼。

We respond so well to form.

我們對形態有很好的反應，

But I'm interested in creating intelligent form.

但我感興趣的是創造智慧的形態。

I'm not interested at all in blobism

我對於流體造形主義不感興趣，

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

或那些被「設計」出來的膚淺的廢物。

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

這些人為誘導的消費主義, 我覺得很討厭。

My world is the world of people like Amory Lovins,

我的世界是像

Amory Lovins，Janine Benyus，詹姆士•華生的世界。

Janine Benyus, James Watson.

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

我屬於那個世界，但我全憑直覺工作。

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

我不是科學家。或許曾經我能成為科學家，

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

但我在這個直覺能被信賴的世界中工作。

So I am a 21st-century translator of technology

所以我是 21 世紀的科技翻譯者

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

醉心於將我們每日使用的商品與美及自然連結在一起。

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

我們必須發展事物 --

我們必須為創意發展造形, 來提升人們的知覺

for ideas which elevate people's perceptions

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

並尊敬我們取之於地球的事物

and translate into products for everyday use.

將它轉換為日常生活用品。

So, the water bottle.

那麼，看看水瓶。

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

我將用這個我稱為 DNA 的概念起頭。

DNA: Design, Nature, Art.

DNA 是指設計、自然、藝術。這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.

這是一張李奧納多•達文西的繪畫，

畫在五百年前，攝影術發明之前。

It shows how observation, curiosity and instinct

它顯示了觀察、好奇及直覺如何創造出神奇的藝術。

work to create amazing art.

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

工業設計是 21 世紀的藝術形式。

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

像李奧納多這樣的人 -- 雖然為數不多 --

had this amazingly instinctive curiosity.

都有這種驚人的好奇心本能。

I work from a similar position.

我也以相似的立場工作。

I don't want to sound pretentious saying that,

我不想讓人覺得我是自誇，

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

但這是幾年前我用數位板作的畫 --

well into the 21st century, 500 years later.

在五百年後的 21 世紀中。

It's my impression of water.

這是我對水的印象。

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

印象派是地球上最有價值的藝術形式：

100 million dollars, easily, for a Monet.

一張莫內的畫動輒一億美元。

I use, now, a whole new process.

現在我用全新的程序。

A few years ago I reinvented my process

幾年前我再次發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, 薩哈•哈帝, 雷姆•庫哈斯 --

all these people that I think are persevering and pioneering

我認為這些人都堅持保持並開拓

with fantastic new ideas of how to create form.

以奇妙的新想法來創造形態。

This is all created digitally.

這全是用數位方式創造出來的。

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

這裡你看到加工方法，壓克力塊的車削。

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

我秀給客戶看這個，告訴他：「這就是我要做的。」

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

那時我一點都不知道這是否可行。

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

那是個誘惑人的東西，而在我骨子裡相信那是可能的。

So we go, we look at the tooling.

因此我們開始。我們找機具，看要如何製造。

We look at how that is produced.

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

這些是你一生中看不到的無形事物。

This is the background noise of industrial design.

這是工業設計的背景雜音。

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

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

It is more valuable than the product in my eyes.

在我眼裡，這東西比成品更有價值。我自己還沒有。

I don't have one.

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

當我賺了錢，我將為自己做一個。

This is the final product.

這是最後的成品。當他們寄給我時，我以為失敗了。

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

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

它沒有什麼感覺。它就是沒有什麼感覺。

It was when I put the water in

但當我將它裝了水，我才體會出我為水加了一層外皮。

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

It's an icon of water itself,

它是水本身的象徵，

and it elevates people's perception of contemporary design.

而且它提升了人們對當代設計的感受。

Each bottle is different,

每個瓶子都不同，意味著水位將給你不同的形狀。

meaning the water level will give you a different shape.

It's mass individualism from a single product.

這是單一產品的大量個人主義。它適合手握。

It fits the hand.

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

適合患關節炎的手，適合兒童的手。

It makes the product strong, the tessellation.

凹凸使瓶子更堅固。

It's a millefiori of ideas.

這是創意的千層糕。

In the future, they will look like that,

未來它們將會是那個樣子，因為我們需要從

because we need to move away from those type of polymers

這種聚合物上離開並將它用在醫學儀器上，

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，這些材料上的新構想，

will come into play in probably a decade.

將在大約十年內上場。

It doesn't look as cool, does it?

它看起來並不起眼，不是嗎？

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

但我可以實現它。對我來說那並不是問題。

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

我以生物聚合物的條件來設計。這是未來趨勢。

I took this video in Cape Town last year.

這是去年我在開普敦錄製的影像。

This is the freaky side coming out.

這是怪異的一面出現了。

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

我對這一類能讓我驚奇的事情特別感興趣。

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

我不知道是否要～你知道的，跪下來，大叫。

I don't know what I think.

我不知道我在想什麼，但我只知道自然不斷地在以

But I just know that nature --

nature improves with ever-greater purpose

比既存的更偉大的目標進步著，

that which once existed,

and that strangeness is a consequence of innovative thinking.

而怪異正是創新思維的結果。

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

當我看著這些事物，它們對我來說很正常。

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

但這些事物是經過多年的演化，而現在我們試著要去做的 --

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

我只有三星期來設計一個電話。

我怎麼能在三星期內設計一個電話呢？

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

而這些東西卻用了好幾億年的時間去演化？

How do you condense that?

你如何去濃縮它呢？

It comes back to instinct.

這又回歸到直覺了。

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

我不是說設計看起來像那樣的電話，

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

我也不是指設計像那樣的建築。

I'm just interested in natural growth patterns

我感興趣的只是自然的成長模式，

and the beautiful forms that only nature really creates.

以及只有自然才能創造出的美麗形態。

How that flows through me and how that comes out

它如何流經我，然後得出來的

is what I'm trying to understand.

才是我試著要去理解的。

This is a scan through the human forearm.

這是人類前臂的掃描。然後利用快速成型技術放大

It's then blown up through rapid prototyping

顯現其細胞結構。這些東西放在我辦公室裡。

to reveal its cellular structure.

I have these in my office.

My office is a mixture of the Natural History Museum

我的辦公室就像自然歷史博物館和 NASA 太空實驗室的混合。

and a NASA space lab.

It's a weird, kind of freaky place.

那是一個怪異，有點反常的地方。

This is one of my specimens.

這是我的其中一個收藏。

This is made --

這個骨頭是由無機礦物和聚合物混合製成的。

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

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

在校時我學了四年廚藝，在那個經驗中，

which was called "domestic science,"

當時稱為家政科學，我耍小聰明，

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

企圖用它來取得科學資格。

(Laughter)

（笑聲）

Actually, I put marijuana in everything I cooked --

實際上，不論煮什麼我都加進大麻 --（笑聲）

(Laughter)

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

-- 並能處在一群漂亮的女生中。快樂得像神仙。

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

那些橄欖球隊的傢伙是不會了解的，總之 --

Anyway -- this is a meringue.

這是蛋白甜霜。這是我的另一個樣本。

This is another sample I have.

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

我推估，蛋白甜霜的組成和骨頭完全一樣。

It's made from polysaccharides and proteins.

它是由多糖類和蛋白質製成的。

If you pour water on that, it dissolves.

如果你澆水在其上，它會溶化。

Could we be manufacturing from foodstuffs in the future?

將來我們可能用食材來製造東西嗎？

Not a bad idea. I don't know.

想法不錯。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，但直覺上我相信

but I believe instinctively that that meringue can become something,

蛋白甜霜可以變成某些東西，一輛車 -- 也許。

a car -- I don't know.

I'm also interested in growth patterns:

我也對於成長模式感興趣：

the unbridled way that nature grows things

自然界無限制的成長方式使你毫不受到形態的限制。

so you're not restricted by form at all.

These interrelated forms, they do inspire everything I do,

這些相互聯繫的形態，確實激發了我做的每件事，

although I might end up making something incredibly simple.

雖然最後我做出的東西可能難以置信的簡單。

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

這是我設計的鎂金屬椅子的細部。

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

這顯示了多個要素的對話, 以及工程

and biological thinking,

和生物思維的美妙，表現出類似骨骼的結構。

shown pretty much as a bone structure.

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

任何一個元件多多少少都可以掛在牆上當藝術品。

as some kind of art object.

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

這是世界上第一個用鎂製造的椅子。

It cost 1.7 million dollars to develop.

開發它花了 170 萬美元。美國的 Bernhardt 公司稱它為 "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 年時代雜誌，

被喻為 21 世紀的新語言。

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

天呀！對於某些在威爾斯某個小村莊長大的人來說，這已經足夠了。

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

這說明你如何創作一個整體的形態，如汽車業，

and then you break up what you need.

然後打破你所需要的。

This is an absolutely beautiful way of working.

這絕對是一個美麗的工作方式。

It's a godly way of working.

是一個虔誠的工作方式。

It's organic and it's essential.

這是有機的，是必要的。

It's an absolutely fat-free design,

這絕對是一個無脂的設計，當你看著它時，

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

你看到人類。保佑你。

When that moves into polymers,

當那進入聚合物時，你可以變更形態的彈性，流動性。

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

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

這是一個氣體注入的單件式聚合物椅子概念。

What nature does is it drills holes in things.

自然會在物體裡鑽洞。它解放形態。

It liberates form.

It takes away anything extraneous.

它移除任何多餘的事物。而這就是我要做的。

That's what I do.

I make organic things which are essential.

我做必要的有機物品。

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

雖然它們像是搞怪，

但是我絕不是為「怪」而怪，因為我認為那是絕對丟臉的事。

because I think that's an absolute disgrace.

I set out to look at natural forms.

我的用意是要觀察自然形態。

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

如果你進一步採用碎形技術的概念，拿一層薄膜，

shrinking it down constantly like nature does --

像自然一樣不斷地縮小它：

that could be a seat for a chair.

這可能是椅子的座位，

It could be a sole for a sports shoe.

可能是運動鞋的鞋底，

It could be a car blending into seats.

可能是一輛和座位融為一體的汽車。

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

哇～讓我們去做吧！就是這樣的東西。

This is what exists in nature.

這是存在自然界的東西。觀察使我們現在能夠

Observation now allows us to bring that natural process

把自然的過程帶到日常的設計過程中。這就是我要做的。

into the design process every day.

That's what I do.

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

這是正在東京進行的一個展覽。

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

它叫「超流動性」。這是我的雕塑研究。

It's like 21st-century Henry Moore.

這就像 21 世紀的亨利摩爾。看到亨利摩爾的作品，

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

你仍會驚異不已。這裡也有一些令人驚訝的精神連結。

There's some amazing spiritual connect.

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

如果他是一名汽車設計師，呼，我們都會開著一輛。

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

他在世時，曾是全英國納稅最多的人。

That is the power of organic design.

這就是有機設計的力量。

It contributes immensely to our --

它極大地促進了我們的存在意識，

sense of being,

our sense of relationships with things,

我們與物品關係的意識，

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

一種我們的肉體感受 --

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

甚至是社會情慾面的感受，這是非常重要的。

This is my artwork. This is all my process.

這是我的藝術品。這是我所有的工作過程。

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

這些實際上是當藝術品在賣。

它們是很大的照片。但是這就是我如何做出那個物品的。

But this is how I get to that object.

Ironically, that object was made by the Killarney process,

諷刺的是，這個物品是由基拉尼程序製成的，

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

這是一個全新的 21 世紀的程序，

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

當我這樣說時，我可以聽到 Greg Lynn 笑掉了他的襪子。

I'll tell you about that later.

關於這件事我晚點再告訴你。

When I look into these data images,

當我看這些資料影像時，我看到新的東西。

I see new things.

It's self-inspired.

我是自我 -- 自我啟發的。雙原子結構，放射蟲，

Diatomic structures, radiolaria,

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

我們以往看不到的東西，但是我們現在能夠做到。

these, again, are cored out.

這些又都是空心的。它們幾乎不耗什麼材料。

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

它們是矽土做的。為什麼汽車結構不能這樣呢？

Why not structures from cars like that?

Coral, all these natural forces,

珊瑚，所有這些自然力都會除去它們不需要的

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

並且它們表現極大的美。

We need to be in that realm.

我們需要這樣的領域。我要做這樣的東西。

I want to do stuff like that.

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

這是一張將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.

是為一家叫 Moroso 的義大利公司設計的。

它是一張氣體注入的聚合物椅子。

Those holes you see there are very filtered-down,

這些你看到的孔洞是經過精簡，

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

簡化到極致的雙原子結構。

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

它隨著聚合物一起流動，你會看到 --

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

有一個顯示整個東西的影像現在將出現。

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

在義大利有公司願意支持這樣的夢想是一件很棒的事。

If you see the shadows that come through that,

如果你看到光線穿透它所造成的陰影效果，

they're actually probably more important than the product,

它們實際上可能比產品更重要

but it's the minimum it takes.

但是它最少是這樣。

The coring out of the back lets you breathe.

背部的鏤空讓你可以透氣。

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.

而它實際上也照應了彎曲，所以 --

I was going to break into a dance then.

我幾乎要手舞足蹈了起來。

This is some current work I'm doing.

這是一些目前我在做的工作。

I'm looking at single-surface structures

我嘗試研究的是單一表面的結構以及它們如何流動 --

and how they stretch and flow.

如何延伸和流動。這是基於家具形態，

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

但這不是最終的動機。它是鋁製的，

It's made from aluminum ...

as opposed to aluminium, and it's grown.

相對於鋁，它是生長出來的。

It's grown in my mind,

它生長在我的腦海裡，然後它依照

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

我想過的整個流程製造出來。

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

這是兩個星期前在英國科芬特里的 CCP，他們為賓特利汽車等公司製作零件。

It's being built as we speak

於我們現在談話的同時它正在建造，

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

明年它將在紐約的 Phillips 展出。

I have a big show with Phillips Auctioneers.

我在 Phillips 拍賣公司有個大展覽。

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

當我看到這些動畫，噢！天呀！我太高興了。

This is what goes on in my studio everyday.

這些事每天都發生在我的工作室。我走開 -- 我去旅行。我回來。

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

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

有人用電腦把它弄了出來 -- 就這樣，噢！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嘗試製造這種發明的能量。

This kind of effervescent --

這種能傳遞構想的滾燙，有味的湯汁。

fully charged sense of soup that delivers ideas.

Single-surface products.

單表面產品。家具是一個很好的例子。

Furniture's a good one.

How you grow legs out of a surface.

你如何從一個表面長出腳來。

I would love to build this one day

有一天我希望能將它做出來。也許我會想用

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

麵粉、糖、聚合物、木屑等來建造它 --

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

也許，人的頭髮。我不確定。我真想試一試。

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

我並不確定。只要我有時間。

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

我怪異的一面又跑出來了，

很多公司不理解這一點。

Three weeks ago I was with Sony in Tokyo.

三個星期前我在東京 Sony 公司。他們說：「給我們一個夢想。」

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

「我們的夢想是什麼？我們該如何擊敗 Apple？」

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

我說：「嗯，你不要抄襲 Apple，這是肯定的。」

我說：「你們可以引入生物聚合物。」他們完全忽視我所說的。

You get into biopolymers."

They looked straight through me.

What a waste. Anyway.

真是白費口舌。總之。（笑聲）

(Laughter)

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

不，這是真的。他媽的。他媽的。你知道，我是說…

(Laughter)

（笑聲）

I'm delivering; they're not taking.

我願意給，他們卻不要。我有這張圖片已經 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.

這張 20 年來一直待在加熱版上的水滴圖片。

That is an image of a car for me.

對我而言這是汽車的形象。

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

未來的汽車。它是一個水滴。

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

我一 直以難以置信的方式測試它。

Cars are all wrong.

汽車全都錯了。

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

我現在要讓你們看一件怪異的東西。

They laughed everywhere over the world I showed this.

不管在世界上哪裡當我秀給別人看時，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。

汽車是由三萬個零件組成的。

Cars are made from 30,000 components.

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

那是多麼可笑？不能用三百個做成嗎？

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

它有個真空形成的碳-奈龍底盤。所有東西都是整體整合的。

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

它就如同個漢堡麵包一般打開和關上。

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

沒有引擎。背面有太陽能電池板，

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

輪子裡有電池。

組裝就如同一級方程式賽車。你從牆上取下輪子。

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

把它們插入車體。就可以快樂上路了。

A three-wheeled car: slow, feminine,

這是一輛三輪汽車：緩慢、女性化、透明，

transparent, so you can see the people in there.

你可以看到裡面的人。你開車行為不同了。

You drive different.

（笑聲）

You see that thing. You do. You do.

你看這東西。你看到它。

And not anesthetized, separated from life.

你看到而不會麻痺，從生活中脫離。

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

前面有個洞，這個設計是有原因的。

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

這是一個城市車。你開它走。你出來。

You drive on to a proboscis. You get out.

你開到某個地點。你下車。它幫你升起。

It lifts you up.

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

把太陽能電池板朝向太陽，

到了晚上它是路燈。

(Applause)

（掌聲）

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

但是如果你先從路燈得到靈感然後再加上汽車的設計，

and do the car second.

它就會變成下面這樣。這些泡泡 --

I can see these bubbles with these hydrogen packages,

我可以看到這些泡泡和這些氫氣包，

floating around on the ground, driven by AI.

漂浮在地面上由人工智慧駕駛。

When I showed this in South Africa,

當我在南非發表這個時，

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

會後大家都說，「嘿，棍子上的車子。像這樣。」

Can you imagine? A car on a stick.

你能想像嗎？棍子上的車子。

(Laughter)

If you put it next to contemporary architecture,

如果你把它擺在現代建築旁邊，

it feels totally natural to me.

我覺得十分自然。

And that's what I do with my furniture.

我就是這樣搭配我的家具的。

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

我已不再在建築物裡擺查理斯•伊姆斯的家具了。

別提它。我們往前走。

I'm trying to build furniture which fits architecture.

我試圖建造適合建築的家具。

I'm trying to build transportation systems.

我試圖建造運輸系統。

I work on aircraft for Airbus,

我為空中巴士公司的飛機裡裡外外做設計 --

I do all this sort of stuff

我所做的這些事都在試圖為這些自然的，

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

啟發於自然的夢想找個家。有兩件事我一定要完成。

I'm going to finish on two things.

This is the stereolithography of a staircase.

這是以立體原型法製作的樓梯。

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

某部份是向詹姆士，詹姆士•華生致敬。

I built this thing for my studio.

我為我的工作室建造這個。

It cost me 250,000 dollars to build this.

它花了我 25 萬美元。

Most people go and buy the Aston Martin.

大多數人花錢買奧斯頓•馬汀。我花錢做這個。

I built this.

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

這是建造的資料。難以置信的複雜。

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

花了大約兩年，因為我要求無脂的設計。

Lean, efficient things. Healthy products.

精簡，高效率的東西。健康的產品。

This is built by composites.

這是用複合材料建造的。這是由一個單元

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

經由環繞而創出整體單元，

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

而這是一個碳纖扶手

它只有兩個支撐點。

Modern materials allow us to do modern things.

現代材料使我們能夠做現代的東西。

This is a shot in the studio.

這是工作室一景。

This is how it looks pretty much every day.

它平日看起來就是這個樣子。

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

下來時但願你沒有懼高症。

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

幾乎沒有扶手。它沒有通過任何標準。

(Laughter)

（笑聲）

Who cares?

誰在乎呢？

(Laughter)

（笑聲）

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

是啊，它有一個內部扶手，給它強度。正是這樣的全面整合。

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

這就是我的工作室。它在地下。

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

它在諾丁山，旁邊龍蛇雜處 --

the prostitutes and all that stuff.

你知道的，像是妓女及所有那類的東西。

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.

它有全天自動調整的照明系統。

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

我的同事們出去吃午飯了。門是開著的。他們回來了，

因為外面通常在下雨，他們寧願留在裡面。

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

This is my studio.

這是我的工作室。來自牛津大學 1988 年的大象頭骨。

Elephant skull from Oxford University, 1988.

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

我去年買了它。它們很難找到。

如果誰有鯨魚骨骼要賣給我，我會買。

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

I'll put it in the studio.

我會把它放在工作室。

So I'm just going to interject a little bit

所以，我想切進，說明一些

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

影片中你會看到東西。

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

這是一個自製的影片; 我自己在凌晨三點鐘錄製的

just to show you how my real world is.

只是讓你看看我的真實世界。你很難看到這部份。

You never see that.

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

你很難看到建築師或設計師讓你看他們的真實的世界。

This is called a "Plasnet."

這個叫做 Plasnet。它是一種聚碳 --

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

我正在義大利製作的生物聚碳化合物的新椅子。

World's first bamboo bike with folding handlebars.

世界上第一台有可摺把手的竹子腳踏車。

We should all be riding one of these.

我們都應該騎這種車子。

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

當中國開始買這些爛汽車時，

我們都該騎這種東西。制衡。

Counterbalance.

Like I say, it's a cross

如我說的，它橫跨自然歷史博物館及

between Natural History Museum and a NASA laboratory.

NASA 實驗室。它堆滿了原型和物件。

It's full of prototypes and objects.

It's self-inspirational, again.

是個自我啟發的地方。我的意思是，少數機會當我在這裡時，

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

I do enjoy it.

我很喜歡這裡，也有許多小孩會來這裡 --

And I get lots and lots of kids coming.

許多許多的小孩來。

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

我是有感染力的，對那些投資銀行家的小孩而言 -- 那些癟三。

Sorry.

這 -- 對不起 --（笑聲）

(Laughter)

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

-- 那是太陽能種子。是一個新建築概念。

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

上面的那個東西是世上第一個太陽能發電的庭院燈 --

the first produced.

第一個生產的。Giles Revell 今天該來這裡演講的 --

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攝影。

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

在東京為那東西所製造的第一件雕塑模型。

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

一大堆東西。這是一個小葉椅子 -- 那個金色的東西叫做葉子

that golden looking thing is called "Leaf."

It's made from Kevlar.

它是以凱夫勒製成的。

On the wall is my book called "Supernatural,"

牆上是我的書, 叫做 「超自然，」

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

它讓我記起我做過的事，因為我常忘記。

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

這是一塊去年我在法國里蒙做的透氣磚，

in Concepts for New Ceramics in Architecture.

在「建築的新瓷器概念」中。

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

又是清晨三點做的 --

and I don't pay overtime.

但我不付加班費。

Overtime is the passion of design,

加班是對設計的熱心，要就來否則拉倒。

so join the club or don't.

(Laughter)

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

不，這是真的。真的。像 Tom 和 Greg 這樣的人 --

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

我們超乎常人所能的旅行個不停 -- 我們配合所有行程。不知道我們如何做到的。

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萊克斯公司，

然後星期五我在北京。你看看我們是如何做到的。

You work that one out.

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

但當我看了 Ed 的照片，我想，

幹嘛我要去中國? 真的。

It's true. It's true.

Because there's a soul in this whole thing.

真的。因為整個當中有個靈魂

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

為了 21 世紀，我們該有新的直覺。

We need to combine all this stuff.

我們必須結合所有的東西。

If all the people who were talking over this period

如果這段時間內在交談的所有人

worked on a car together,

一起製做一輛車，那是一種愉快，絕對很愉快。

it would be a joy, absolute joy.

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

這是我正在日本做的一個新的 X 光系統。

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

那是來自北非的 Tuareg 鞋子。那是 Kifwebe 面具。

These are my sculptures.

這些是我的雕塑。

A copper jelly mold.

一個銅製的果膠模子。

(Laughter)

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

這聽起來好像是機智問答或什麼的，不是嗎？

So, it's going to end.

嗯，就要結束了。

Thank you, James, for your great inspiration.

謝謝，詹姆士，感謝你偉大的啟發。

Thank you very much.

感謝大家。

(Applause)

（掌聲）