One morning, in the year 1957, the neurosurgeon Wilder Penfield saw himself like this, a weird freak with huge hands, huge mouth, and a tiny bottom. Actually this creature is the result of the Penfield research. He named it homunculus. Basically the homunculus is the visualization of a human being where each part of the body is proportional to the surface it takes in the brain. So, of course, homunculus is definitely not a freak. It's you. It's me. It's our invisible reality. This visualization could explain, for example, why newborns, or smokers, put, instinctively, their fingers in the mouth. Unfortunately it doesn't explain why so many designers remain mainly interested in designing chairs.
在1957年一個早上 神經外科醫師Walter Penfield 看見他自己像是 一個有雙巨大的手的怪人 一個大嘴巴 和一個小屁股 事實上這個生物 是他的研究結果 他把這個生物取叫侏儒 基本上這侏儒是 將人類視覺化 其身體的各部位是與 在腦袋中的表面積成等比例的 所以,當然,侏儒絕不是怪物 它是你。它是我。 它是我們肉眼不可見的實體 這樣的視覺化可以解釋成,比方, 為什麼新生兒或吸煙者 直覺地將他們的手指放在他們的口中 很不幸地,它並沒有解釋原因 所以很多設計家主要還是 對設計椅子感興趣
So anyway, even if I do not understand science entirely, for my design I essentially refer to it. I'm fascinated by its ability to deeply investigate the human being, its way of working, its way of feeling. And it really helps me to understand how we see, how we hear, how we breathe, how our brain can inform or mislead us. It's a great tool for me to understand what could be our real needs.
不管如何,即使我不完全地了解科學 對我的設計,我必須參考科學 我深感著迷的是它能 深入地探索人類 人類的運作方式、人類的情感方式 而且科學真的幫我了解 我們如何看、如何聽 如何呼吸、以及我們的腦袋如何能通知或誤導我們 對我來説它是很好的工具 讓我了解什麼是我們真正的需求
Marketing people have never been able to do that. Marketing reduces things. Marketing simplifies. Marketing creates user groups. And scientists, amidst complexity, amidst fluctuation and uniqueness. What could be our real needs? Maybe the silence. In our daily life we are continuously disturbed by aggressive sounds. And you know all those kind of sound puts us in a kind of stressful state, and prevent us from being quiet and focused. So I wanted to create a kind of sound filter, able to preserve ourselves from noise pollution. But I didn't want it to make it by isolating people, without any earmuffs or those kind of things. Or neither with including complex technology. I just wanted to, using the complexity and the technology of the brain, of the human brain.
行銷人沒有辦法做到這個 行銷減少事情,行銷減化事情 行銷發明使用者團體 而科學家,在複雜中, 在波動以及特有中處理事務 什麼可能是我們真實的需求? 或許是科學。 在我們的日常生活中,我們不斷地被 令人不悅的聲音干擾 你知道那些聲音讓我們處在 一種壓力很大的狀態中 並且使我們無法安靜與專注 於是我想發明一種 聲音的過濾器 能保護我們不受噪音的干擾 但我不想讓它變成 隔離人的產品。沒有任何電磁場 或這類東西 也不想有任何複雜的科技 我只是想使用腦子的複雜性 和腦子的科技
So I worked with white noise. dB is basically -- dB is the name of the product, basically a white noise diffuser. This is white noise. The white noise is the sum of all frequencies that are audible by the human being, brought to the same intensity. And this noise is like a "shhhhhhhhhhhhh," like that. And this noise is the most neutral. It is the perfect sound for our ears and our brain. So when you hear this sound you feel like a kind of shelter, preserved from noise pollution. And when you hear the white noise, your brain is immediately focused on it. And do not be disturbed any more by the other aggressive sound. It seems to be magic. But it is just physiology. It's just in your brain. And in mine, I hope.
所以我的發明針對白噪音 D.B基本上是 D.B 是產品的名稱,基本上它是 白噪音的擴散器 這是白噪音 白噪音是所有頻率的總和 其在人類的聽覺範圍內 帶著相同的強度 且這噪音像〝噓〞聲那樣 這個噪音是最中性的 它是對我們的耳朵和腦袋來説最完美的聲音 所以當你聽到這個聲音 你會感到有個屏障 將噪音阻擋在你之外 同時當你聽到這白噪音時,你的腦子馬上會專注於它 所以就不會被其他干擾的聲音給打擾 它似乎很神奇 但它只是生理學。它就在你的腦袋裡, 我希望也在我的腦袋裡。
So in order to make this white noise a little bit active and reactive, I create a ball, a rolling ball able to analyze and find where does aggressive sound come from, and roll, at home or at work, towards aggressive noise, and emits white noise in order to neutralize it. (Laughter) It works. You feel the effect of the white noise? It's too in silence. If you make some noise you can feel the effect.
所以為了要使這個白噪音 再活潑一點,再更有反應一點, 我發明了一個球,一個滾動的球 它能夠分析並且找到 干擾的聲音是從哪裡來的 然後在家裡或在辦公室裡 往干擾的聲音滾動 然後發射出白噪音來中和這個干擾的聲音 (笑) 它很有用 你可以感覺到白噪音的作用? 在寂靜中它同樣可行 如果你想製造一些你可以感覺到影響的聲音
So even if this object, even if this product includes some technology, it includes some speakers, it includes some microphones and some electronic devices, this object is not a very smart object. And I don't want to make a very smart object. I don't want to create a perfect object like a perfect robot. I want to create an object like you and me. So, definitely not perfect. So imagine, for instance, you are at home. A loving dispute with your girl or boyfriend. You shout. You say, "Blah blah blah, Blah blah blah. Who is this guy?" And dB will probably roll toward you. And turning around you is "shhhhhhh," like that. (Laughter) Definitely not perfect. So you would probably shut it, at this point. (Laughter)
即使是這個物體 即使這個產品包含了一些科技 它包括了一些講者,它包括了一些麥克風, 以及一些電子設備 這個物體並不是很聰明 而我並不想發明一個非常聰明的物體 我不想發明像完美機器人一樣的完美物體 我想發明一個像你我一樣的物體 也就是説,絕不完美 所以想像你現在在家 你和你的男女朋友正在吵架 你大叫。你説了一大堆,然後問那個人是誰? 然後D.B很可能會滾向你 再對準你發出像"噓〞一樣的聲音 (笑) 絕對不完美。所以你可能會 在這時候關掉它 (笑)
Anyway, in this same kind of approach, I designed K. K is a daylight receiver transmitter. So this object is supposed to be displayed on your desk, or on your piano, where you are supposed to spend most of your time in the day. And this object will be able to know exactly the quantity of light you receive during the day, and able to give you the quantity of light you need. This object is completely covered by fiber opticals. And the idea of those fiber opticals is to inform the object, for sure, but creates the idea of an eye sensibility of the object. I want, by this design feel, when you see it, you see, instinctively, this object seems to be very sensitive, very reactive. And this object knows, better than you and probably before you, what you really need. You have to know that the lack of daylight can provoke some problem of energy, or problem of libido. So, a huge problem. (Laughter)
總之,相同的方法下, 我設計了K K是接收日光傳輸器 所以這個物品應該要放在你的桌上 或者在你的鋼琴上,在任何你可能 在一天當中花最多時間的地方 而這個物品會 確切地知道你在白天時,接收到的光線品質 然後給你所需的光線品質 這個物品整個被 光學纖維所覆蓋 這些光學纖維的概念主要是為了通知這物體 但還創造了一個 這個物品視覺效果的概念 我想,透過這個設計 當你看到它時去感覺, 直覺地去看 這個物品似乎非常敏感 非常有反應 而且這個物品比你更了解 甚至在你自知之前,了解你需要的是什麼 你必須知道日光的缺乏 會引起一些 能量的問題或性慾的問題 所以説是很大的問題 (笑)
Most of the projects I work on -- I live in collaboration with scientists. I'm just a designer. So I need them. So there can be some biologists, psychiatrists, mathematicians, and so on. And I submit them, my intuitions, my hypothesis, my first ideas. And they react. They told me what is possible, what is impossible. And together we improve the original concept. And we build the project to the end. And this kind of relationship between designer and scientist started when I was at school.
很多我處理的專案 利用科學家的分級 我只是一個設計者。所以我需要它們 所以可以有一些生物學家, 心理諮詢專家,數學家等。 我向他們提出我的直覺 我的假設,我最初的想法 然後他們反應。他們告訴我什麼可行,什麼不可行 於是我們一起改進最初的概念 並且一起建構專案直到最後 而這種設計師和科學家之間的關係 在我還是學生時就開始了
Indeed in my studies I was a guinea pig for a pharmaceutical industry. And the irony for me was of course, I didn't do that for the sake of science progress. I just do that to make money. Anyway, this project, or this experience, make me start a new project on the design of medicine. You have to know that today, roughly one or two every drug pills is not taken correctly. So even if the active constituents in pharmaceuticals made constant progress in terms of chemistry, target of stability, the behavior of the patients goes more and more unstable. So we took too many of them. We took irregular dosage. We do not follow instructions. And so on.
早年在學校時,我是好像是 醫療產業的白老鼠 對我來説,諷刺的是 我當然不是為了科學進步去做這件事的 我只是為了賺錢去做 不過,這個專案,或這個經驗 讓我開始一個在醫藥方面設計的新專案 你要知道在今天,大約一到兩顆藥 不是被正確服用的 所以即使有效的成份 在製藥業裡不斷地進步 關於化學、標靶、或穩定性 病人的行為 卻愈來愈不穩定 所以我們吃了許多藥 我們不規律地使用劑量 我們不遵照用藥指示等等
So I wanted to create a new kind of medicine, in order to create a new kind of relationship between the patient and the treatment. So I turned traditional pills into this. I'm going to give you some example. This one is an antibiotic. And its purpose is to help patient to go to the end of the treatment. And the concept is to create a kind of onion, a kind of structure in layers. So, you start with the darkest one. And you are helped to visualize the duration of the treatment. And you are helped to visualize the decrease of the infection. So the first day, this is the big one. And you have to peel and eat one layer a day. And your antibiotic goes smaller and clearer. And you're waiting for recovery as you were waiting for the Christmas day. And you follow the treatment like that, to the end of the treatment. And here you can get the white core. And it means, right, you are in the recovery. (Applause) Thank you.
所以我想發明 一種新的藥 以發展一種新的 醫病關係 所以我讓一般的藥丸變成這個 我給你們幾個例子 這個是抗生素 它的目的是要幫助病人 能到治療的末期 而這個概念是 發明一種洋蔥 一種層疊的結構 所以,你從最黑的這個開始 而且你將透過視覺化而知道整個療程所需要的時間 而且你也因視覺化明白感染問題的減輕 所以第一天時,這是個大的藥丸 然後你必須每天剝下並吃下一層 所以你的抗生素變得愈來愈小也愈來愈乾淨 於是你只要像等待聖誕節一樣地等待康復 所以你遵照像那樣的療程 直到療程結束 在這裡你得到白色的核心 而它意味著,沒錯,你康復了 謝謝
This one is a "third lung," a pharmaceutical device for long-term asthma treatment. I designed it to help kids to follow the treatment. So the idea of this one is to create a relationship between the patient of the treatment but a relationship of dependency. But in this case it is not the medication that is dependent on the patient. This is, the kids will feel the therapeutic object needs him. So the idea is, all night long the elastic skin of the third lung will slowly inflate itself, including air and molecules, for sure. And when the kids wake up, he can see the object needs him. And he take him to his mouth, and breathe the air it contains. So by this way, the kid, to take care of himself, is to take care of this living object. And he does not feel anymore it's relies on asthma treatment, as the asthma treatment needs him. (Applause)
這個是〞第三肺〞。 一個為長期氣喘療程的醫療器材 我設計它來幫助兒童們跟隨療程 這個想法是去發明 一個醫病關係 但不是依賴的關係 在這個例子裡,不是用藥取決於病人 反而兒童會覺得 這個治療器材需要他 所以概念是:整個晚上 第三肺的彈性表面皮膚 會慢慢地膨脹 當然包括空氣與分子 然後當小孩們醒來時 他會看見這個物體需要他。然後他將這個肺拿到他的嘴巴 把裡頭的空氣吸光 藉由這個方式, 這小孩,為了照顧他自己 就是照顧這個活生生的物品 然後他再也不覺得是他在依賴氣喘治療 而是這個氣喘治療需要他 (鼓掌)
In this guise of living object approach, I like the idea of a kind of invisible design, as if the function of the object exists in a kind of invisible field just around the objects themselves. We could talk about a kind of soul, of a ghost accompanying them. And almost a kind of poltergeist effect. So when a passive object like this one seems to be alive, because it is -- woosh -- starting to move.
在這個偽裝的活物品的方式下 我喜歡這類肉眼不可見的設計概念 就好像這物品的作用 存在於不可見的場域中 只在這些物品本身 我們可以説就像鬼的靈魂 使他們令人信服 就幾乎是一種喧鬧鬼的效果吧 所以當像這個一樣被動的物品,似乎是活生生的時, 因為它會開始移動
And I remember an exhibition design I made for John Maeda, and for the Fondation Cartier in Paris. And John Maeda was supposed to show several graphic animations in this exhibition. And my idea for this exhibition design was to create a real pong game, like this one. And the idea was to create some self-moving benches in the main exhibition room. So the living benches would be exactly like the ball. And John was so excited by this idea. He said to me, "Okay let's go." I remember the day of the opening. I was a little bit late. When I bring the 10 living and self-moving benches in the exhibition room, John was just beside me, and was like, "Hmm. Hmm." And he told me, after a long silence, "I wonder, Mathieu, if people won't be more fascinated by your benches than by my videos." (Laughter) It would be a great honor, a great compliment for me, if he hadn't decided to take all them off two hours before the opening. So, huge tragedy.
而且我記得,在一個設計展覽裡 我幫John Maeda做的, 也是幫巴黎卡地爾基金會而做 當時John Maeda應該要展示 幾個平面動畫 而我對這個設計展的想法是創造 一個像這樣的真實的乒乓遊戲, 想法是創造一些會自己移動的長凳 在主展覽室裡 所以這些會動的長凳就會像球一樣 John對這想法感到很興奮。他說〝好啊,我們就這麼做〞 我記得開幕那天 我有一點遲到了 當我帶著十張活生生會動的長凳 到展覽室裡,John就在我旁邊 然後像"嗯,嗯〞 在安靜了很長一段時間後,他說 我覺得,Mathieu 人們會對你的椅子感到著迷 反而對我的影片沒興趣 (笑) 這是很大的榮耀,對我來説是很大的讚美 如果他沒有在開幕兩小時前決定 把這些椅子移走 將會是個大悲劇
I guess you won't be surprised if I tell you that Pinocchio is one of my great influences. Pinocchio is probably one of my best design products, my favorite one. Because it is a kind of object with a conscience, able to be modified by its surroundings, and able to modify it as well. The other great influence is the mine's canary. In coal mines, this canary was supposed to be close to the miners. And it was singing all day long. And when it stops it means that it just died. So this canary was a living alarm, and a very efficient one. A very natural technology, in order to say to the miners, "The air is too bad. You have to go. It's an emergency." So it's, for me, a great product.
我猜如果我告訴你們小木偶是影響我最大之一的發明 你們應該不太驚訝 小木偶或許是我最好的設計產品,也是我最喜愛的 因為它是有意識的物體 能夠因地制宜 也能修正它自己 另一個很大的影響是礦坑裡的金絲雀 在礦坑裡,金絲雀 應該要和礦工們很接近 而且牠要整天唱歌。當牠停止歌聲就表示牠死了。 所以這隻金絲雀是個離開的警鈴 而且非常有效 也非常天然的科技 為了要告訴礦工們 空氣太糟了,你們必須離開。十分緊急 所以對我來説,這是很棒的產品
And I tried to design a kind of canary. Andrea is one. Andrea is a living air filter that absorbs toxic gasses from air, contaminated indoor air. So it uses some plants to do this job, selected for their gas-filtering ability. You have to know, or you probably already know, that indoor air pollution is more toxic than outdoor one. So while I'm talking to you, the seats you are sitting on are currently emitting some invisible and odorless toxic gas. Sorry for that. (Laughter) So you are currently breathing formaldehyde. It's the same for me with the carpet. And this is exactly the same at home. Because all the product we get constantly give away the volatile component of which they're made of.
而我試著要設計一種金絲雀 Andrea就是一個 Andrea是活的空氣過濾器,能吸收有毒氣體 從空氣中,受汙染的室內空氣 所以它使用一些植物來做這件事 從植物過濾空氣的能力來挑選 你要知道,或者你可能已經知道 室內空氣的汙染比室外的更具毒性 所以當我正在對你們説話時 你們坐著的椅子正散發出一些 肉眼看不見而且也聞不到的有毒氣體。對此我感到很抱歉。 也就是你正呼吸著甲醛 這張地毯也一樣 而這就像在家裡 因為所有我們有的物品都持續地散發出 那些製造時就有的有毒成份
So let's have a look at your home. So your sofa, your plastic chair, your kid's toys give their own invisible reality. And this one is very toxic. This is the reason why I created, with David Edward, a scientist of Harvard University, an object able to absorb the toxic elements using those kind of plants. But the idea is to force the air to go in the effective part of the plants. Because the roots of the plant are not very effective. Bill Wolverton from NASA analyzed it cleverly in the '70s. So the idea is to create an object able to force the air, and to be in contact at the right speed at the right place, in all the effective parts of the plant. So this is the final object. It will be launched next September. (Applause)
所以讓我們看看你們的家 你的沙發,你的塑膠椅 你小孩的玩具 都散發出不可見的毒素 這也是為什麼 我和David Edward 一個哈佛大學的科學家 發明一個利用這些植物吸收有毒物質的物品 但這個概念是去強迫 空氣進入植物中有效的部分 因為這些植物的根部並不十分有效 在NASA的Bill Vorveten 在70年代時,就很聰明地分析了這件事 所以這個想法就是去發明一個物品 能強迫空氣並在正確的速度下 與植物有效的部位接觸 所以這是最後一個物品 它將在明天九月上市 (鼓掌)
This one is kind of the same approach because I include, in a product like Andrea, some plants. And in this one, plants are used for the water filtration ability. And it includes some fishes as well. But here, unlike Andrea, here are supposed to be eaten. Indeed, this object is a domestic farm, for fishes and green. So the idea of this object is to be able to get at home very local food. The locavores used to get food taken in a radius of 100 miles. Local River is able to provide you food directly in your living room. So the principle of this object is to create an ecosystem called aquaponics. And the aquaponics is the dirty water of the fish, by a water pump, feeds the plants above. And the plants will filter, by the roots, the dirty water of the fish. After, it goes back into the fish tank.
這個也是同樣方式 因為我在產品裡 包含了像Andrea一樣的一些植物 而這一個產品裡,植物是用來過濾水 所以它也包括了一些魚 但這裡不像Andrea的是 魚是可以被吃的 的確,這個物品是個家用農場 可以飼養魚與植綠 所以這個物品的概念 是使家庭能夠得到 非常當地的食物 這些當地人 曾經獲取食物 在方圓100哩內 當地的溪流能直接從你的客廳裡 提供你食物 所以這項物品的原則是 發明一個生態系統 叫aquaponics 而aquaponics就是魚兒使用的髒水 利用幫浦供植物使用 然後這些植物利用根部過濾 魚使用的廢水 再將它送回至魚缸裡
After that you have two options. Or you sit down in front of it like you would do in front your TV set. Amazing channel. Or you start fishing. And you make some sushis with a fish and the aromatic plants above. Because you can grow some potatoes. No, not potatoes, but tomatoes, aromatic plants and so on.
然後你有兩個選擇 你可以像平常一樣坐在電視機前 看有意思的節目 或者你可以開始釣魚 然後你就可以用魚和上頭的香草 做一些壽司 因為你可以種一些馬鈴薯 不,不是馬鈴薯,是番茄 香草等等
So now we can breathe safely. Now we can eat local food. Now we can be treated by smart medicine. Now we can be well-balanced in our biorhythm with daylight. But it was important to create a perfect place, so I tried to, in order to work and create. So I designed, for an American scientist based in Paris, a very stimulative, brain-stimulative office. I wanted to create a perfect place where you can work and play, and where your body and your brain can work together.
所以我們就可以安全地呼吸 我也可以吃當地的食物 我們可以被聰明的藥物治療 我們可以在生物韻律中達到良好的平衡 擁有日光 但創造一個完美的地方也很重要 所以我試著 為了工作與發明 所以我幫一個在巴黎的美國科學家設計了 一個反應很好,也很有助大腦思考的辦公室 我想創造一個完美的地方 讓你可以在那工作與玩耍 身體與頭腦可以同時運作
So, in this office, you do not work anymore at your desk, like a politician. Your seat, your sleep and your play on a big geodesic island made of leather. See, like this one? In this office you do not work and write and draw on a sheet of paper, but you draw directly on a kind of huge whiteboard cave, like a prehistoric scientist. So you, like that, can make some sport during your work. In this office you do not need to go out in order to be in contact with nature. You include, directly, the nature in the floor of the office. You can see it there.
所以在這個辦公室 你不再需要像一個政客,在你的桌上做事 你的座位,你的睡眠以及你的遊戲 都在皮革製的大地島上 看,喜歡嗎? 在這個辦公室裡,你不需要在一張紙上工作、寫或畫 但你直接劃在一個大白板的洞穴裡 像個史前的科學家 所以像這樣,你可以在工作時做些運動 在這個辦公室 你不需要為了 與大自然接觸而出門 你直接把大自然融入在辦公室的地板上 像這張圖
This is an inspiration image to lead this project of the office. It really helped me to design it. I never show it to my client. He would be so afraid. (Laughter) Just for my workshop. I guess it may be the revenge of the guinea pig I was. But it's maybe the conviction as monkey and homunculus we are. All of us need to be considered according to our real nature. Thank you very much. (Applause)
這是個很有啟發性的畫面 來領導這個辦公室專案 它真的幫我設計了辦公室 我從沒對我的客戶展示這個。他會覺得很侮辱 (笑) 只是給我的工作室用 我猜可能是我當白老鼠的報復吧 但它也許是信念 如果我們是人猿與侏儒 我們都需要依我們實際的天性被考慮 非常感謝你們! (鼓掌)