Two twin domes, two radically opposed design cultures. One is made of thousands of steel parts, the other of a single silk thread. One is synthetic, the other organic. One is imposed on the environment, the other creates it. One is designed for nature, the other is designed by her.
Dvije kupole blizanke, dva radikalno suprotna načina dizajna. Jedna je napravljena od tisuću metalnih dijelova, druga od jedne niti svile. Jedna je sintetička, druga organska. Jedna je nametnuta okolišu, druga ga stvara. Jedna je stvorena za prirodu, druga je stvorena od nje.
Michelangelo said that when he looked at raw marble, he saw a figure struggling to be free. The chisel was Michelangelo's only tool. But living things are not chiseled. They grow. And in our smallest units of life, our cells, we carry all the information that's required for every other cell to function and to replicate.
Michelangelo je rekao da gledajući neobrađeni mramor, vidi kip koji se bori da bude oslobođen. Michelangelov jedini alat bilo je dlijeto. Ali živa bića nisu izdubljena. Ona rastu. U našim najmanjim jedinicama života, našim stanicama, nosimo informaciju potrebnu za svaku drugu stanicu da funkcionira i da se dijeli.
Tools also have consequences. At least since the Industrial Revolution, the world of design has been dominated by the rigors of manufacturing and mass production. Assembly lines have dictated a world made of parts, framing the imagination of designers and architects who have been trained to think about their objects as assemblies of discrete parts with distinct functions.
Alati također imaju posljedice. Nakon industrijske revolucije svijetom dizajna su dominirale surova izrada i masovna prozivodnja. Linije sklapajućih dijelova su diktirale svijetom napravljenim od dijelova, zarobljavajući maštu dizajnera i arhitekata koji su školovani da gledaju na objekte kao na sklapajuće, odvojene dijelove s odvojenim funkcijama.
But you don't find homogenous material assemblies in nature. Take human skin, for example. Our facial skins are thin with large pores. Our back skins are thicker, with small pores. One acts mainly as filter, the other mainly as barrier, and yet it's the same skin: no parts, no assemblies. It's a system that gradually varies its functionality by varying elasticity. So here this is a split screen to represent my split world view, the split personality of every designer and architect operating today between the chisel and the gene, between machine and organism, between assembly and growth, between Henry Ford and Charles Darwin. These two worldviews, my left brain and right brain, analysis and synthesis, will play out on the two screens behind me. My work, at its simplest level, is about uniting these two worldviews, moving away from assembly and closer into growth.
Ali u prirodi se ne mogu naći homogeni sklopivi materijali. Uzmimo ljudsku kožu kao primjer. Naša koža lica je tanka s velikim porama. Koža leđa je deblja s manjim porama. Jedna uglavnom dijeluje kao filter, a druga uglavnom kao barijera, a opet to je ista koža; bez dijelova i bez sklopivih dijelova. To je sustav koji postepeno mijenja svoju svrhu varirajući elastičnost. Ovdje je razdvojeni ekran koji prikazuje moj podijeljen svjetonazor, tj. podijeljenu osobnost svakog dizajnera i arhitekta koji rade danas, između dlijeta i gena, između stroja i organizma, između sklapanja dijelova i rasta, između Henryja Forda i Charlesa Darwina. Ta dva svjetonazora, moja lijeva i desna polutka mozga, analiza i sinteza, prikazat će se na dva ekrana iza mene. Moj rad, na najednostavnijoj razini, temelji se na ujedinjenju ta dva nadzora, odmicanjem od sklapanja i približavanju rastu.
You're probably asking yourselves: Why now? Why was this not possible 10 or even five years ago? We live in a very special time in history, a rare time, a time when the confluence of four fields is giving designers access to tools we've never had access to before. These fields are computational design, allowing us to design complex forms with simple code; additive manufacturing, letting us produce parts by adding material rather than carving it out; materials engineering, which lets us design the behavior of materials in high resolution; and synthetic biology, enabling us to design new biological functionality by editing DNA. And at the intersection of these four fields, my team and I create. Please meet the minds and hands of my students.
Vjerojatno se pitate: Zašto sada? Zašto to nije bilo moguće prije deset ili čak pet godina? Živimo u posebno doba u povijesti, rijetko vrijeme, vrijeme kada se ujedinjuju četiri polja koja daju dizajnerima pristup alatima koje nikad prije nisu imali. Ta polja su komputacijski dizajn koji nam omogućuje da dizajniramo složene forme preko jednostavnog koda; aditivna manufaktura koji nam omgućuje stvaranje dijelova dodavanjem materijala umjesto da ga izrezbarimo; inženjering materijala koji nam omogućuje dizajniranje ponašanja materijala u visokoj rezoluciji; i sintetička biologija koja omogućuje dizajn novih bioloških funkcija promijenom DNA. Na sjecištu tih četiri disciplina, moj tim i ja stvaramo. Molim vas upoznajte umove i ruke mojih studenata.
We design objects and products and structures and tools across scales, from the large-scale, like this robotic arm with an 80-foot diameter reach with a vehicular base that will one day soon print entire buildings, to nanoscale graphics made entirely of genetically engineered microorganisms that glow in the dark. Here we've reimagined the mashrabiya, an archetype of ancient Arabic architecture, and created a screen where every aperture is uniquely sized to shape the form of light and heat moving through it.
Mi dizajniramo objekte i proizvode i strukture i alate na svim skalama, od velikih, kao što je ova robotska ruka s promjerom dosega 25 metara, na mobilnoj bazi koja će uskoro printati cijele zgrade, do grafika u nanoskali napravljene od genetički promijenjenih mikroorganizma koji svijetle u mraku. Iznova smo izradili mašrabiju, arhetip drevne arapske arhitekture, i stvorili ekran gdje je svaki otvor jednake veličine kako bi oblikovali svijetlo i toplinu koji se kreću kroz njih.
In our next project, we explore the possibility of creating a cape and skirt -- this was for a Paris fashion show with Iris van Herpen -- like a second skin that are made of a single part, stiff at the contours, flexible around the waist. Together with my long-term 3D printing collaborator Stratasys, we 3D-printed this cape and skirt with no seams between the cells, and I'll show more objects like it. This helmet combines stiff and soft materials in 20-micron resolution. This is the resolution of a human hair. It's also the resolution of a CT scanner. That designers have access to such high-resolution analytic and synthetic tools, enables to design products that fit not only the shape of our bodies, but also the physiological makeup of our tissues. Next, we designed an acoustic chair, a chair that would be at once structural, comfortable and would also absorb sound. Professor Carter, my collaborator, and I turned to nature for inspiration, and by designing this irregular surface pattern, it becomes sound-absorbent. We printed its surface out of 44 different properties, varying in rigidity, opacity and color, corresponding to pressure points on the human body. Its surface, as in nature, varies its functionality not by adding another material or another assembly, but by continuously and delicately varying material property.
U sljedećom projektu, istažili smo mogućnost izrade ogrtača i suknje -- to smo učinili s Iris van Herpen za Paris fashion show -- poput druge kože napravljene od jednog komada, čvrsta na konturama, pokretljiva oko struka. Zajedno sa mojim dugogodišnjim suradnikom za 3D printanje, Stratasys, 3D smo isprintali ogrtač i suknju bez šavova između stanica, a pokazat ću vam još takvih objekata. Ova kaciga kombinira čvste i mekane materijale u rezoluciji od 20 mikrona. To je rezolucija ljudske vlasi kose. To je također rezolcija CT skenera. Mogućnost pristupa dizajnera takvim visoko-rezolucijskim analitičkim i sintetičkim alatima omogućuje da dizajniramo produkte koji ne samo da odgovaraju obliku naših tijela, nego također i fiziološkoj naravi naših tkiva. Sljedeće, dizajnirali smo akustičnu stolicu, stolicu koja ima strukturu, ugodna je ali i upija zvukove. Profesor Carter, moj suradnik, i ja tražimo nadahnuće u prirodi. Dizajnirajući nepravilni površinski uzorak ona postaje upijajuća za zvuk. Isprintali smo površinu sa 44 različita svojstva koja su varirala u krutosti, prozirnosti i boji koje su odgovarale točkama pritiska na ljudsko tijelo. Ta površina, kao i u prirodi, varira svoju funkcionalnost ne dodavanjem drugog materijala ili drugog dijela, nego konstantnim i profinjenim variranjem svojstva materijala.
But is nature ideal? Are there no parts in nature? I wasn't raised in a religious Jewish home, but when I was young, my grandmother used to tell me stories from the Hebrew Bible, and one of them stuck with me and came to define much of what I care about. As she recounts: "On the third day of Creation, God commands the Earth to grow a fruit-bearing fruit tree." For this first fruit tree, there was to be no differentiation between trunk, branches, leaves and fruit. The whole tree was a fruit. Instead, the land grew trees that have bark and stems and flowers. The land created a world made of parts. I often ask myself, "What would design be like if objects were made of a single part? Would we return to a better state of creation?"
Ali je li priroda idealna? Postoje li dijelovi u prirodi? Ja nisam odgojena u pobožnom židovskom domu, ali kad sam bila mala, moja baka mi je znala prepričavati priče iz židovske Biblije, i jedna od njih je ostala urezana u meni i definira sve do čega mi je stalo. Kako je ona prepričavala: "Na treći dan Stvaranja, Bog zapovijedi Zemlji da iznikne drvo koje nosi voće." U te prve voćki nije bilo razlike između stabla, grana, lišća i voća. Cijelo drvo je bilo voće. Umjesto toga zemlja je iznikla drveće s deblom, stabljikom i cvijećem. Zemlja je stvorila svijet sačinjen od dijelova. Često se pitam, "Kakav bi bio dizajn kada bi objekti bili sačinjeni od jednog dijela?" Bismo li došli na više stanje stvaranja?
So we looked for that biblical material, that fruit-bearing fruit tree kind of material, and we found it. The second-most abundant biopolymer on the planet is called chitin, and some 100 million tons of it are produced every year by organisms such as shrimps, crabs, scorpions and butterflies. We thought if we could tune its properties, we could generate structures that are multifunctional out of a single part. So that's what we did. We called Legal Seafood --
I tražili smo taj biblijski materijal, to drvo-voće tip materijala, i pronašli ga. Drugi najučestaliji biopolimer na planetu je hitin, i otprilike se proizvede 100 milijuna tona svake godine pomoću organizama kao što su škampi, rakovi, škorpioni i leptiri. Razmišljali smo da ako možemo podesiti svojstva hitina, možemo stvoriti strukture koje su višefunkcionalne i od jednog dijela. To smo i napravili. Nazvali smo Legal Seafood --
(Laughter)
(Smijeh)
we ordered a bunch of shrimp shells, we grinded them and we produced chitosan paste. By varying chemical concentrations, we were able to achieve a wide array of properties -- from dark, stiff and opaque, to light, soft and transparent. In order to print the structures in large scale, we built a robotically controlled extrusion system with multiple nozzles. The robot would vary material properties on the fly and create these 12-foot-long structures made of a single material, 100 percent recyclable. When the parts are ready, they're left to dry and find a form naturally upon contact with air. So why are we still designing with plastics? The air bubbles that were a byproduct of the printing process were used to contain photosynthetic microorganisms that first appeared on our planet 3.5 billion year ago, as we learned yesterday. Together with our collaborators at Harvard and MIT, we embedded bacteria that were genetically engineered to rapidly capture carbon from the atmosphere and convert it into sugar. For the first time, we were able to generate structures that would seamlessly transition from beam to mesh, and if scaled even larger, to windows. A fruit-bearing fruit tree. Working with an ancient material, one of the first lifeforms on the planet, plenty of water and a little bit of synthetic biology, we were able to transform a structure made of shrimp shells into an architecture that behaves like a tree. And here's the best part: for objects designed to biodegrade, put them in the sea, and they will nourish marine life; place them in soil, and they will help grow a tree.
naručili hrpetinu ljuštura škampa samljeli ih i stvorili pastu od hitina. Varirajući koncentracije kemikalija, možemo postići različita svojstva -- od tamnog, čvrstog i mutnog, do svijetlog, mekanog i prozirnog. Kako bismo isprintali strukture u većoj skali, napravili smo robotski kontroliran sustav s više brizgalica za izbacivanje. Robot varira svojstva materijala spontano i stvara ovakve strukture dugačke 3.5 metra sačinjene od jednog materijala, ujedno 100% reciklirajuće. Kada su dijelovi gotovi, ostavljamo ih da se posuše i dobe oblik na prirodan način u kontaktu sa zrakom. Zašto onda još uvijek dizajniramo s plastikom? Mjehurići zraka koji su popratni prozivod printanja upotrebljeni su za uzgoj fotosintetskih mikroorganizama koji su se prvi puta pojavili na planetu prije 3,5 milijarde godina, kao što smo naučili jučer. Zajedno sa našim suradnicima na Harvard-u i MIT-u, uklopili smo bakterije koje su bile genetički modificirane da brzo absorbiraju ugljik iz atmosfere i pretvaraju ga u šećer. Po prvi puta, uspjeli smo stvoriti strukture koje bez šavova prelaze iz snopa u mrežu i ako se skala još poveća, u prozore. Drvo-voće. Radeći sa drevnim materijalom jednim od prvih oblika života na planetu, mnoštvo vode i malo sintetičke biologije, uspijeli smo pretvoriti strukturu sačinjenu od ljusaka škampa u arhitekturu koja se ponaša kao drvo. I što je najbolje: objekti koji su dizajnirani da budu biorazgradivi, stavite ih u more i hranit će morski svijet; stavite ih u zemlju i pomoć će u rastu drveta.
The setting for our next exploration using the same design principles was the solar system. We looked for the possibility of creating life-sustaining clothing for interplanetary voyages. To do that, we needed to contain bacteria and be able to control their flow. So like the periodic table, we came up with our own table of the elements: new lifeforms that were computationally grown, additively manufactured and biologically augmented. I like to think of synthetic biology as liquid alchemy, only instead of transmuting precious metals, you're synthesizing new biological functionality inside very small channels. It's called microfluidics. We 3D-printed our own channels in order to control the flow of these liquid bacterial cultures. In our first piece of clothing, we combined two microorganisms. The first is cyanobacteria. It lives in our oceans and in freshwater ponds. And the second, E. coli, the bacterium that inhabits the human gut. One converts light into sugar, the other consumes that sugar and produces biofuels useful for the built environment. Now, these two microorganisms never interact in nature. In fact, they never met each other. They've been here, engineered for the first time, to have a relationship inside a piece of clothing. Think of it as evolution not by natural selection, but evolution by design. In order to contain these relationships, we've created a single channel that resembles the digestive tract, that will help flow these bacteria and alter their function along the way. We then started growing these channels on the human body, varying material properties according to the desired functionality. Where we wanted more photosynthesis, we would design more transparent channels. This wearable digestive system, when it's stretched end to end, spans 60 meters. This is half the length of a football field, and 10 times as long as our small intestines. And here it is for the first time unveiled at TED -- our first photosynthetic wearable, liquid channels glowing with life inside a wearable clothing.
Okolina za naše sljedeće istraživanje uz iste principe dizajna, bila je Sunčev sustav. Tražili smo načine kreairanja odjeće koja održava na životu tijekom međuplanetarnih putovanja. Kako bi to učinili, trebali smo pohraniti bakterije i kontrolirati njihov protok. Poput periodnog sustava elemenata, mi smo osmislili svoju tablicu elemenata: nove oblike života koji rastu komputacijski, aditivno manufaktirani i biološki poboljšani. Volim gledati na sintetičku biologiju kao tekuću alkemiju, samo što umjesto mijenjanja dragocijenih metala, mi sintetiziramo nove biološke funkcije unutar vrlo malih kanala. To se zove mikrofluidnost. Mi smo isprintali u 3D kanale koji će kontrolirali tok tih tekućih bakterijskih kultura. U našoj prvom komadu odjeće, iskombinrali smo dvije vrste mikroorganizama. Prve su cijanobakterije. One žive u oceanima i slatkovodnim lokvama. Druge, E. coli su bakterije koje naseljavaju ljudski probavni trakt. Jedna pretvara svjetost u šećer, druga konzumira taj šećer i stvara biogoriva korisna za graditeljstvo. Ta dva mikroorganizma nikada nisu bili u interakciji u prirodi. U stvari nikada se nisu upoznali. Oni su ovdje inžinjirani po prvi puta kako bi imali interakciju unutar komada odjeće. Gledajte na to ne kao evoluciju prirodnom selekcijom, nego evoluciju po dizajnu. Kako bi održali taj odnos, stvorili smo jedan kanal koji podsjeća na probavni trakt, a pomoći će u toku tih bakterija i putem mijenjati njihovu funkciju. Onda smo počeli uzgajati te kanale na ljudskom tijelu i mijenjali svojstva materijala prema željenoj svrsi. Tamo gdje smo željeli više fotosinteze, dizajnirali smo prozirnije kanale. Taj nosivi probavni sustav kada se rastegne od početka do kraja, proteže se preko 60 metara. To je pola dužine nogometnog igrališta i 10 puta dulje od našeg tankog crijeva. I ovdje po prvi puta u TED-u objelodanjujemo javnosti -- našu prvu fotosintetsku odjeću, tekuće kanale koji svijetle životom unutar nosive odjeće.
(Applause)
(Pljesak)
Thank you.
Hvala.
Mary Shelley said, "We are unfashioned creatures, but only half made up." What if design could provide that other half? What if we could create structures that would augment living matter? What if we could create personal microbiomes that would scan our skins, repair damaged tissue and sustain our bodies? Think of this as a form of edited biology. This entire collection, Wanderers, that was named after planets, was not to me really about fashion per se, but it provided an opportunity to speculate about the future of our race on our planet and beyond, to combine scientific insight with lots of mystery and to move away from the age of the machine to a new age of symbiosis between our bodies, the microorganisms that we inhabit, our products and even our buildings. I call this material ecology.
Mary Shelley je kazala, "Mi smo nepotpuna bića, samo polovično napravljena." Što ako bi dizajn mogao dopuniti drugu polovicu? Što ako bi mogli stvarati strukture koje bi mogle poboljšati živu tvar? Što ako bi mogli stvarati osobne mikrobiome koji bi skenirali našu kožu, popravili oštećena tkiva i održavala naša tijela? Gledajte na to kao na oblik uređivačke biologije. Cijela kolekcija "Istraživači" nazvana prema planetima, meni osobno nije bila zbog mode nego je dala mogućnost spekuliranja o budućnosti naše rase na planetu i izvan, kako bi spojili znanstveni uvid i mnoštvo zagonetki te kako bi se maknuli dalje od doba strojeva u novo doba simbioze između naših tijela, mikroorganizama koji nas nastanjuju, proizvoda i čak građevina. Ja to zovem materijalnom ekologijom.
To do this, we always need to return back to nature. By now, you know that a 3D printer prints material in layers. You also know that nature doesn't. It grows. It adds with sophistication. This silkworm cocoon, for example, creates a highly sophisticated architecture, a home inside which to metamorphisize. No additive manufacturing today gets even close to this level of sophistication. It does so by combining not two materials, but two proteins in different concentrations. One acts as the structure, the other is the glue, or the matrix, holding those fibers together. And this happens across scales. The silkworm first attaches itself to the environment -- it creates a tensile structure -- and it then starts spinning a compressive cocoon. Tension and compression, the two forces of life, manifested in a single material.
Kako bi to učinili, trebamo se vratiti prirodi. Do sada znate da 3D printer printa materijale u slojevima. Također znate da priroda to ne čini. Ona raste. Dodaje sa profinjenošću. Ova kukuljica dudovog svilca, na primjer, stvara vrlo profinjenu građevinu, dom unutar kojeg metamorfizira. Niti jedna aditivna manufaktura danas nije ni blizu toj razini profinjenosti. To se postiže kombinacijom ne dva materijala, nego dva proteina u različitim koncentracijama. Jedan djeluje kao struktura, drugi kao ljepilo, ili kao kalup, koji drži ta vlakna na mjestu. I to se događa na svim skalama. Dudov svilac se prvo prihvati za okoliš -- stvara napetu strukturu -- i onda počne plesti zbijenu kukuljicu. Napetost i sažimanje, dvije životne sile, očitovane u jedom materijalu.
In order to better understand how this complex process works, we glued a tiny earth magnet to the head of a silkworm, to the spinneret. We placed it inside a box with magnetic sensors, and that allowed us to create this 3-dimensional point cloud and visualize the complex architecture of the silkworm cocoon. However, when we placed the silkworm on a flat patch, not inside a box, we realized it would spin a flat cocoon and it would still healthily metamorphisize. So we started designing different environments, different scaffolds, and we discovered that the shape, the composition, the structure of the cocoon, was directly informed by the environment.
Kako bi bolje razumjeli kako taj složeni proces radi, zalijepili smo mali magnet na glavu dudovog svilca, na žlijezdu. Smjestili smo ga unutar kutije s magnetskim senzorima što nam je omogućilo da stvorimo trodimenzionalni oblak točaka i vizualiziramo složenu arhitekturu kukuljice dudovog svilca. Međutim, kada smo smjetili dudovog svilca na ravnu podlogu, ne u kutiju, shvatili smo da plete ravnu kukuljicu i svejedno je zdravo metamorfizirao. Počeli smo dizajnirati različite okoliše, različite podloge, i otkrili da su oblik, sastav, stuktura kukuljice direktno određena okolišem.
Silkworms are often boiled to death inside their cocoons, their silk unraveled and used in the textile industry. We realized that designing these templates allowed us to give shape to raw silk without boiling a single cocoon.
Dudovi svilci su često skuhani na smrt unutar svojih kukuljica, njihova svila se odmotova i koristi u tekstilnoj industriji. Shvatili smo da dizajniranjem tih kalupa omogućujemo oblikavanje sirove svili bez kuhanja ijedne kukuljice.
(Applause)
(Pljesak)
They would healthily metamorphisize, and we would be able to create these things.
Oni bi zdravo metamorfizirali, a mi možemo stvarati te stvari.
So we scaled this process up to architectural scale. We had a robot spin the template out of silk, and we placed it on our site. We knew silkworms migrated toward darker and colder areas, so we used a sun path diagram to reveal the distribution of light and heat on our structure. We then created holes, or apertures, that would lock in the rays of light and heat, distributing those silkworms on the structure.
Povećali smo skalu do arhitektonskog nivoa. Robot je pleo kalup iz svile, a mi smo ju smjestili na naše mjesto. Znali smo da će dudovi svilci migrirati prema tamnijim i hladnijim područjima i napravili smo dijagram putanje sunca kako bi otkrili raspodjelu svjetla i topline u našoj strukturi. Tada smo stvorili rupe ili otvore koje su mogle propustiti zrake svjetla i toplinu te tako razmještati dudove svilce na strukturi.
We were ready to receive the caterpillars. We ordered 6,500 silkworms from an online silk farm. And after four weeks of feeding, they were ready to spin with us. We placed them carefully at the bottom rim of the scaffold, and as they spin they pupate, they mate, they lay eggs, and life begins all over again -- just like us but much, much shorter.
Bili smo spremni za doček gusjenica. Naručili smo 6 500 dudovih svilca preko online farme svile. Nakon četiri tjedna hranjenja, bili su spremni da pletu s nama. Pažljivo smo ih položili na donji obruč podloga i kako pletu, pupaju, pare se, liježu jaja i život počinje iznova -- baš kao i u nas, samo puno kraće.
Bucky Fuller said that tension is the great integrity, and he was right. As they spin biological silk over robotically spun silk, they give this entire pavilion its integrity. And over two to three weeks, 6,500 silkworms spin 6,500 kilometers. In a curious symmetry, this is also the length of the Silk Road. The moths, after they hatch, produce 1.5 million eggs. This could be used for 250 additional pavilions for the future.
Bucky Fuller je kazao da napetost daje cjelovitost, i bio je u pravu. Kako oni pletu biološku svilu preko robotski predene svile, daju cijelom paviljonu cjelovitost. I nakon dva do tri tjedna, 6 500 dudovih svilca su ispleli 6 500 kilometra. Zanimljiva paralela jest da je to ujedno i dužina Puta svile. Nakon što se izliježu, moljci proizvedu 1,5 milijuna jajašca. To bi se moglo iskoristiti za 250 dodatnih paviljona u budućnosti.
So here they are, the two worldviews. One spins silk out of a robotic arm, the other fills in the gaps.
I tako, ovdje su predstavljena dva svjetonazora. Jedan prede svilu iz robotske ruke, a drugi puni praznine.
If the final frontier of design is to breathe life into the products and the buildings around us, to form a two-material ecology, then designers must unite these two worldviews. Which brings us back, of course, to the beginning. Here's to a new age of design, a new age of creation, that takes us from a nature-inspired design to a design-inspired nature, and that demands of us for the first time that we mother nature.
Ako je posljednja granica dizajna udahnuti život u proizvode i građevine koje nas okružuju, da bi stvorili ekologiju dva materijala, tada dizajneri trebaju ujediniti ta dva svjetonazora. Što nas vraća na početak, naravno. Nazdravljam novom dobu dizajna, novom dobu stvaranja koje nas vodi od dizajna inspiranog prirodom do priorode inspirirane dizajnom, što od nas po prvi put zahtjeva da smo mi majka prioroda.
Thank you.
Hvala.
(Applause)
(Pljesak)
Thank you very much. Thank you.
Puno vam hvala. Hvala.
(Applause)
(Pljesak)