Good afternoon, everybody. I've got something to show you. (Laughter) Think about this as a pixel, a flying pixel. This is what we call, in our lab, sensible design. Let me tell you a bit about it. Now if you take this picture -- I'm Italian originally, and every boy in Italy grows up with this picture on the wall of his bedroom -- but the reason I'm showing you this is that something very interesting happened in Formula 1 racing over the past couple of decades. Now some time ago, if you wanted to win a Formula 1 race, you take a budget, and you bet your budget on a good driver and a good car. And if the car and the driver were good enough, then you'd win the race. Now today, if you want to win the race, actually you need also something like this -- something that monitors the car in real time, has a few thousand sensors collecting information from the car, transmitting this information into the system, and then processing it and using it in order to go back to the car with decisions and changing things in real time as information is collected. This is what, in engineering terms, you would call a real time control system. And basically, it's a system made of two components -- a sensing and an actuating component.
Dobar dan, svima. Imam nešto za pokazati vama. (Smijeh) Zamislite da je ovo piksel, leteći piksel. Ovo je što mi zovemo, u našem laboratoriju, razuman dizajn. Dopustite mi da vam ispričam malo o tome. Sada, ako uzmete ovu sliku -- ja sam Talijan, i svaki dječak u Italiji raste s ovom slikom na zidu svoje spavaće sobe. Ali razlog zašto vam ovo pokazujem jest što se nešto jako zanimljivo dogodilo u utrkama Formule 1 tijekom posljednjih nekoliko desetljeća. Prije nekog vremena, ako ste htjeli osvojiti utrku Formule 1, uzeli biste budžet i kladili bi se tim budžetom na dobrog vozača i na dobar auto. I ako su auto i vozač bili dovoljno dobri, onda bi pobijedili u utrci. Danas, ako želite pobijediti u utrci, zapravo trebate i nešto ovako -- nešto što prati auto u realnom vremenu, ima nekoliko tisuća senzora koji prikupljaju informacije iz automobila, prenose tu informaciju u sustav i zatim je obrađuju i koriste je kako bi se vratili natrag autu s odlukama i kako bi mijenjali stvari u realnom vremenu dok se podaci prikupljaju. To je ono što se, u smislu inžinjeringa, može nazvati sustav kontrole u stvarnom vremenu. A u osnovi, to je sustav od dvije komponente -- osjećanja i pokretne komponente.
What is interesting today is that real time control systems are starting to enter into our lives. Our cities, over the past few years, just have been blanketed with networks, electronics. They're becoming like computers in open air. And, as computers in open air, they're starting to respond in a different way to be able to be sensed and to be actuated. If we fix cities, actually it's a big deal. Just as an aside, I wanted to mention, cities are only two percent of the Earth's crust, but they are 50 percent of the world's population. They are 75 percent of the energy consumption -- up to 80 percent of CO2 emissions. So if we're able to do something with cities, that's a big deal. Beyond cities, all of this sensing and actuating is entering our everyday objects.
Ono što je zanimljivo danas je što sustavi kontrole u realnom vremenu počinju ulaziti u naše živote. Naši gradovi, prošlih nekoliko godina bili su prekriveni mrežama, elektronikom. Oni postaju poput računala na otvorenom. I, kao i računala na otvorenom, oni počinju reagirati na drugačiji način kako bi bili u mogućnosti naslutiti i aktivirati. Ako popravimo gradove, to je zapravo ogromna stvar. Baš usput, htio sam spomenuti, gradovi čine samo dva posto Zemljine kore, ali oni čine 50 posto svjetske populacije. Oni čine 75 posto potrošnje energije -- do 80 posto emisije CO2. Dakle, ako smo u stanju učiniti nešto s gradovima, to je velika stvar. Izvan gradova, svo to istraživanje i pokretanje ulazi u naše svakodnevne predmete.
That's from an exhibition that Paola Antonelli is organizing at MoMA later this year, during the summer. It's called "Talk to Me." Well our objects, our environment is starting to talk back to us. In a certain sense, it's almost as if every atom out there were becoming both a sensor and an actuator. And that is radically changing the interaction we have as humans with the environment out there. In a certain sense, it's almost as if the old dream of Michelangelo ... you know, when Michelangelo sculpted the Moses, at the end it said that he took the hammer, threw it at the Moses -- actually you can still see a small chip underneath -- and said, shouted, "Perché non parli? Why don't you talk?" Well today, for the first time, our environment is starting to talk back to us. And I'll show just a few examples -- again, with this idea of sensing our environment and actuating it.
Ovo je s izložbe Paola Antonellija koja je organizirana u MoMA-i kasnije ove godine, tijekom ljeta. Zove se "Pričaj sa mnom". Pa, naši predmeti, naš okoliš, počinje razgovarati s nama. U određenom smislu, to je gotovo kao da svaki atom tamo vani postaje i senzor i pokretač. A to radikalno mijenja interakciju koju imamo kao ljudi s vanjskim okolišem. U određenom smislu, to je gotovo kao u starom snu Michelangela... znate, kad je Michelangelo oblikovao Mojsija, na kraju je rekao da je uzeo čekić, bacio na Mojsija -- zapravo još uvijek možete vidjeti malu rupu ispod -- i rekao, vikao, "Perché non parli? Zašto ne govoriš?" Pa i danas, po prvi put, naš okoliš počinje razgovarati s nama. A ja ću vam pokazati samo nekoliko primjera -- opet, s ovom idejom našeg očitavanja našeg okoliša i pokretanja.
Let's starting with sensing. Well, the first project I wanted to share with you is actually one of the first projects by our lab. It was four and a half years ago in Italy. And what we did there was actually use a new type of network at the time that had been deployed all across the world -- that's a cellphone network -- and use anonymous and aggregated information from that network, that's collected anyway by the operator, in order to understand how the city works. The summer was a lucky summer -- 2006. It's when Italy won the soccer World Cup. Some of you might remember, it was Italy and France playing, and then Zidane at the end, the headbutt. And anyway, Italy won at the end.
Počnimo s osjećanjem. Prvi projekt koji sam htio podijeliti s vama je zapravo jedan od prvih projekata iz našeg laboratorija. To je bilo prije četiri i pol godine u Italiji. I ono što smo učinili tamo je zapravo korištenje novog tipa mreže u tom trenutku koji je bio raspoređen diljem cijelog svijeta -- to je mobilna mreža -- i koristili smo anonimne i agregirane podatke iz te mreže, koji su ionako prikupljeni od strane operatera kako bi razumjeli kako grad funkcionira. To je bilo sretno ljeto -- 2006. To je kada je Italija osvojila Svjetsko prvenstvo u nogometu. Neki od vas se možda sjećaju, Italija i Francuska su igrale, a zatim je Zidane na kraju, udario glavom. Uostalom, Italija je pobijedila na kraju.
(Laughter)
(Smijeh)
Now look at what happened that day just by monitoring activity happening on the network. Here you see the city. You see the Colosseum in the middle, the river Tiber. It's morning, before the match. You see the timeline on the top. Early afternoon, people here and there, making calls and moving. The match begins -- silence. France scores. Italy scores. Halftime, people make a quick call and go to the bathroom. Second half. End of normal time. First overtime, second. Zidane, the headbutt in a moment. Italy wins. Yeah. (Laughter) (Applause) Well, that night, everybody went to celebrate in the center. You saw the big peak. The following day, again everybody went to the center to meet the winning team and the prime minister at the time. And then everybody moved down. You see the image of the place called Circo Massimo, where, since Roman times, people go to celebrate, to have a big party, and you see the peak at the end of the day. Well, that's just one example of how we can sense the city today in a way that we couldn't have done just a few years ago.
Sada pogledajte što se dogodilo tog dana samo prateći aktivnosti koje se događaju na mreži. Ovdje možete vidjeti grad. Vidite Koloseum u sredini, rijeku Tiber. To je jutro, prije utakmice. Vidite datume na vrhu. Rano poslijepodne, ljudi ovdje i tamo pozivaju i kreću se. Utakmica počinje -- tišina. Francuska zabija gol. Italija zabija gol. Poluvrijeme, ljudi rade kratke pozive i odlaze na WC. Druga polovica. Kraj normalnog vremena. Prvi produžetak, drugi. Zidane, udarac glavom u trenutku. Italija pobjeđuje. Da. (Smijeh) (Pljesak) Dakle, te noći, svatko je želio slaviti u centru. Vidjeli ste veliki vrh. Sljedeći dan, svatko je otišao u centar u susret pobjedničkom timu i premijeru u to vrijeme. A onda su se svi preselili dolje. Možete vidjeti sliku mjesta zvanog Circo Massimo, gdje su, još od rimskog doba, ljudi išli na proslavu -- kako bi imali veliku zabavu, i vidjet ćete vrh na kraju dana. Pa, to je samo jedan primjer kako možemo osjetiti grad danas, na način koji nismo mogli učiniti do prije nekoliko godina.
Another quick example about sensing: it's not about people, but about things we use and consume. Well today, we know everything about where our objects come from. This is a map that shows you all the chips that form a Mac computer, how they came together. But we know very little about where things go. So in this project, we actually developed some small tags to track trash as it moves through the system. So we actually started with a number of volunteers who helped us in Seattle, just over a year ago, to tag what they were throwing away -- different types of things, as you can see here -- things they would throw away anyway. Then we put a little chip, little tag, onto the trash and then started following it. Here are the results we just obtained.
Još jedan brzi primjer očitavanja: ne radi se o ljudima, već o stvarima koje koristimo i konzumiramo. Pa danas, znamo sve o tome odakle dolaze naši predmeti. Ovo je karta koja vam pokazuje sve čipve koji čine Mac računalo, kako su došli zajedno. Ali mi znamo vrlo malo o tome gdje stvari idu. Tako smo u ovom projektu, zapravo razvili neke male oznake kako bi pratili smeće kako prolazi kroz sustav. Tako smo zapravo počeli s velikim brojem volontera koji su nam pomogli u Seattleu, prije nešto više od godine dana, da označe što su bacali -- različite vrste stvari, kao što možete vidjeti ovdje -- stvari koje bi ionako bacili. Onda smo stavili mali čip, malu oznaku, na smeće i zatim ga počeli slijediti. Ovdje su rezultati koje smo dobili.
(Music)
(Glazba)
From Seattle ... after one week. With this information we realized there's a lot of inefficiencies in the system. We can actually do the same thing with much less energy. This data was not available before. But there's a lot of wasted transportation and convoluted things happening. But the other thing is that we believe that if we see every day that the cup we're throwing away, it doesn't disappear, it's still somewhere on the planet. And the plastic bottle we're throwing away every day still stays there. And if we show that to people, then we can also promote some behavioral change. So that was the reason for the project.
Iz Seattlea ... nakon tjedan dana. Uz ove informacije smo shvatili kako ima puno slabosti u sustavu. Zapravo možemo učiniti istu stvar s puno manje energije. Ovi podatci nisu prije bili dostupni. No, ovdje postoji puno neiskorištenog transporta i čudnih stvari koje se događaju. No, druga stvar je da mi vjerujemo da ako vidimo svakodnevno da čaša koju bacamo, ne nestaje, ona je još uvijek negdje na planetu. A plastična boca koju svakodnevno bacamo ostaje ovdje. I ako to pokažemo ljudima, onda isto tako možemo promovirati neku promjenu u ponašanju. Dakle, to je bio povod za projekt.
My colleague at MIT, Assaf Biderman, he could tell you much more about sensing and many other wonderful things we can do with sensing, but I wanted to go to the second part we discussed at the beginning, and that's actuating our environment. And the first project is something we did a couple of years ago in Zaragoza, Spain. It started with a question by the mayor of the city, who came to us saying that Spain and Southern Europe have a beautiful tradition of using water in public space, in architecture. And the question was: How could technology, new technology, be added to that? And one of the ideas that was developed at MIT in a workshop was, imagine this pipe, and you've got valves, solenoid valves, taps, opening and closing. You create like a water curtain with pixels made of water. If those pixels fall, you can write on it, you can show patterns, images, text. And even you can approach it, and it will open up to let you jump through, as you see in this image.
Moj suradnik na MIT-u, Assaf Biderman, bi vam mogao reći puno više o očitavanju i mnogim drugim prekrasnim stvarima koje možemo s njime raditi, ali želio bih prijeći na drugi dio o kojem smo pričali na početku, a to je pokretanje našeg okoliša. A prvi projekt je nešto što smo napravili prije par godina u Zaragozi, Španjolskoj. Počelo je s pitanjem gradonačelnika tog grada, koji je došao do nas govoreći kako Španjolska i južna Europa imaju prekrasnu tradiciju korištenja vode na javnim prostorima, u arhitekturi. A pitanje je bilo: Kako bi tehnologiju, novu tehnologiju, dodali tome? A jedna od ideja koja je razvijena na radionici na MIT-u je bila, zamislite ovu slavinu, i imate ventile, solenoidne ventile, slavine, koje se otvaraju i zatvaraju. Napravite nešto nalik vodenoj zavjesi s pikselima koji su načinjeni od vode. Ako ti pikseli padnu, možete pisati po njoj, možete prikazati uzorke, slike, tekst. I možete joj se čak približiti i otvoriti će se kako bi vam dopustila da je preskočite, kao što možete vidjeti na ovoj slici.
Well, we presented this to Mayor Belloch. He liked it very much. And we got a commission to design a building at the entrance of the expo. We called it Digital Water Pavilion. The whole building is made of water. There's no doors or windows, but when you approach it, it will open up to let you in. (Music) The roof also is covered with water. And if there's a bit of wind, if you want to minimize splashing, you can actually lower the roof. Or you could close the building, and the whole architecture will disappear, like in this case. You know, these days, you always get images during the winter, when they take the roof down, of people who have been there and said, "They demolished the building." No, they didn't demolish it, just when it goes down, the architecture almost disappears. Here's the building working. You see the person puzzled about what was going on inside. And here was myself trying not to get wet, testing the sensors that open the water.
Dakle, prezentirali smo to gradonačelniku Bellochu. Njemu se to jako svidjelo. I dobili smo dozvolu da dizajniramo zgradu na ulazu u ekspo. Nazvali smo je Paviljon digitalne vode. Cijela zgrada je napravljena od vode. Nema vrata ni prozora, ali kada joj se približite, otvorit će se kako bi vas pustila unutra. (Glazba) Krov je isto tako prekriven vodom. A ako ima malo vjetra, ukoliko želite minimizirati prolijevanje, možete zapravo spustiti krov. Ili možete zatvoriti zgradu, i cijela arhitektura će nestati, kao u ovom primjeru. Znate, ovih dana, uvijek dobijete slike tijekom zime kada maknu krov ljudi koji su bili tamo kažu, "Srušili su zgradu." Ne, nisu srušili zgradu samo se krov spustio, a arhitektura je gotovo nestala. Ovdje je kada zgrada funkcionira. Vidite ovu osobu koja je zbunjena što se događa unutra. A ovdje sam ja pokušavajući se ne smočiti, testirajući senzore koji puštaju vodu.
Well, I should tell you now what happened one night when all of the sensors stopped working. But actually that night, it was even more fun. All the kids from Zaragoza came to the building, because the way of engaging with the building became something different. Not anymore a building that would open up to let you in, but a building that would still make cuts and holes through the water, and you had to jump without getting wet.
trebao bih vam reći što se dogodilo jedne noći kada su svi senzori prestali raditi. Ali te noći, bilo je zapravo još zabavnije. Sva djeca iz Zaragoze su došla do zgrade, jer je način interakcije sa zgradom postao nekako drugačiji. Više nije bila zgrada koja će se otvoriti i pustiti vas unutra, već zgrada koji bi radila pukotine i rupe u vodi, i morali biste skočiti kako se ne bi smočili.
(Video) (Crowd Noise)
(Video) (Buka gomile)
And that was, for us, was very interesting, because, as architects, as engineers, as designers, we always think about how people will use the things we design. But then reality's always unpredictable. And that's the beauty of doing things that are used and interact with people.
A to je nama, bilo veoma zanimljivo, jer, kao arhitekti, kao inžinjeri, kao dizajneri, uvijek razmišljamo o tome kako će ljudi koristiti stvari koje dizajniramo. Ali stvarnost je uvijek nepredvidljiva. A u tome leži ljepota izrade stvari koje koriste ljudi i imaju interakciju s njima.
Here is an image then of the building with the physical pixels, the pixels made of water, and then projections on them. And this is what led us to think about the following project I'll show you now. That's, imagine those pixels could actually start flying. Imagine you could have small helicopters that move in the air, and then each of them with a small pixel in changing lights -- almost as a cloud that can move in space. Here is the video.
Ovdje je slika zgrade s fizičkim pikselima, s pikselima napravljenim od vode, i projekcija na njima. A to nas je vodilo da razmišljamo o idućem projektu koji ću vam sada pokazati. To je, zamislite kada bi ti pikseli doista mogli početi letjeti. Zamislite kada biste mogli imati male helikoptere koji se kreću po zraku, a zatim svaki od njih s malim pikselom koji mijenja svjetla -- gotovo kao oblak koji se može micati u prostoru. Ovdje je video.
(Music)
(Glazba)
So imagine one helicopter, like the one we saw before, moving with others, in synchrony. So you can have this cloud. You can have a kind of flexible screen or display, like this -- a regular configuration in two dimensions. Or in regular, but in three dimensions, where the thing that changes is the light, not the pixels' position. You can play with a different type. Imagine your screen could just appear in different scales or sizes, different types of resolution. But then the whole thing can be just a 3D cloud of pixels that you can approach and move through it and see from many, many directions. Here is the real Flyfire control and going down to form the regular grid as before. When you turn on the light, actually you see this. So the same as we saw before. And imagine each of them then controlled by people. You can have each pixel having an input that comes from people, from people's movement, or so and so.
Dakle, zamislite jedan helikopter, poput onoga što smo ga vidjeli prije, krečući se s ostalima, u sinkronizaciji. Dakle, možete imati taj oblak. Možete imati neku vrstu fleksibilnog zaslona ili prikaza, poput ovog -- regularnu konfiguraciju u dvije dimenzije. Ili u regularnoj, ali u tri dimenzije, gdje je stvar koja se mijenja svjetlo, a ne pozicija piksela. Možete se igrati s različitim vrstama. Zamislite kada bi se vaš ekran mogao samo pojaviti u različitim omjerima ili veličinama, različitim vrstama rezolucije. A zatim cijela stvar može biti samo 3D oblak piksela kojem se možete približiti i kretati kroz njega i vidjeti ga s mnogo, mnogo smjerova. Ovdje je stvarna Flyfire kontrola koja ide dolje kako bi formirala normalnu mrežu kao prije. Kada upalite svjetlo, zapravo vidite ovo. Dakle, isto kao što smo vidjeli i prije. I zamislite da svaki od njih kontroliraju ljudi. Može biti da svaki piksel ima ulaz koji dolazi od ljudi, od kretanja ljudi, ili to i to.
I want to show you something here for the first time. We've been working with Roberto Bolle, one of today's top ballet dancers -- the étoile at Metropolitan in New York and La Scala in Milan -- and actually captured his movement in 3D in order to use it as an input for Flyfire. And here you can see Roberto dancing. You see on the left the pixels, the different resolutions being captured. It's both 3D scanning in real time and motion capture. So you can reconstruct a whole movement. You can go all the way through. But then, once we have the pixels, then you can play with them and play with color and movement and gravity and rotation. So we want to use this as one of the possible inputs for Flyfire.
Želim vam pokazati nešto po prvi puta. Surađivali smo s Robertom Bolleom, jednim od najboljih baletana današnjice -- zvijezdom u Metropolitanu u New Yorku i La Scali u Milanu -- i zapravo zabilježili njegovo kretanje u 3D kako bi ga koristili kao ulaz za Flyfire. A ovdje možete vidjeti Roberta kako pleše. Vidite s lijeve strane piksele, različite rezolucije koje su zahvaćene. To je i 3D skeniranje u stvarnom vremenu i hvatanje kretanja. Dakle, možete rekonstruirati cijelo kretanje. Možete ići do kraja. Ali zatim, jednom kada imamo piksele, tada se možete igrati s njima i igrati se s bojom i kretanjem i gravitacijom i rotacijom. Dakle, želimo to koristiti kao jedan od mogućih ulaza za Flyfire.
I wanted to show you the last project we are working on. It's something we're working on for the London Olympics. It's called The Cloud. And the idea here is, imagine, again, we can involve people in doing something and changing our environment -- almost to impart what we call cloud raising -- like barn raising, but with a cloud. Imagine you can have everybody make a small donation for one pixel. And I think what is remarkable that has happened over the past couple of years is that, over the past couple of decades, we went from the physical world to the digital one. This has been digitizing everything, knowledge, and making that accessible through the Internet.
Želio sam vam pokazati zadnji projekt na kojem radimo. To je nešto na čemu radimo za Olimpijske igre u Londonu. Zove se Oblak. A ideja ovdje je, zamislite, ponovo, možemo uključiti ljude u nešto kako bi mijenjali naš okoliš -- skoro kao davati ono što mi zovemo dizanje oblaka -- poput dizanja žitnice, ali s oblakom. Zamislite kada bi svi donirali malenu svotu za jedan piksel. I mislim kako je nevjerojatno to što se dogodilo proteklih par godina je da, tijekom proteklih par desetljeća, zamijenili smo fizički svijet onim digitalnim. To znači digitalizacija svega, znanja, i njezina dostupnost putem interneta.
Now today, for the first time -- and the Obama campaign showed us this -- we can go from the digital world, from the self-organizing power of networks, to the physical one. This can be, in our case, we want to use it for designing and doing a symbol. That means something built in a city. But tomorrow it can be, in order to tackle today's pressing challenges -- think about climate change or CO2 emissions -- how we can go from the digital world to the physical one. So the idea that we can actually involve people in doing this thing together, collectively.
Sada danas, po prvi put -- a Obamina kampanja nam je to pokazala -- možemo ići od digitalnog svijeta, od samoorganizirajuće moći mreža, do fizičkog svijeta. To može biti, u našem slučaju, želimo to koristiti za dizajniranje i izradu simbola. To znači gradnja nečega u gradu. Ali sutra može biti, kako bismo se nosili s današnjim izazovima -- razmislite o klimatskoj promjeni ili CO2 emisijama -- kako možemo ići od digitalnog svijeta prema fizičkom. Dakle, ideja da zapravo možemo uključiti ljude u zajedničko sudjelovanje, kolektivno.
The cloud is a cloud, again, made of pixels, in the same way as the real cloud is a cloud made of particles. And those particles are water, where our cloud is a cloud of pixels. It's a physical structure in London, but covered with pixels. You can move inside, have different types of experiences. You can actually see from underneath, sharing the main moments for the Olympics in 2012 and beyond, and really using it as a way to connect with the community. So both the physical cloud in the sky and something you can go to the top [of], like London's new mountaintop. You can enter inside it. And a kind of new digital beacon for the night -- but most importantly, a new type of experience for anybody who will go to the top.
Oblak je oblak, ponovno, sačinjen od piksela, na isti način na koji je pravi oblak oblak koji je sačinjen od čestica. A te čestice su voda, gdje je naš oblak oblak od piksela. To je fizička struktura u Londonu, ali prekrivena pikselima. Možete je dovesti unutra, imati različite vrste iskustva. Možete zapravo od ispod vidjeti, dijeleći glavne trenutke Olimpijskih igara 2012 i više, i doista ga koristiti kao način za povezivanje sa zajednicom. Dakle, i fizički oblak na nebu i nešto na što se možete popesti, poput Londonskog novog planinskog vrha. Možete ući unutra. I poput novog digitalnog svjetionika u noći -- ali još važnije, novi tip iskustva za svakoga tko će ići na vrh.
Thank you.
Hvala vam.
(Applause)
(Pljesak)