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.
Dve srodne kupole, dva radikalno suprotna kulturološka dizajna. Jednu čini na hiljade čeličnih delova, druga je napravljena od samo jedne svilene niti. Prva je sintetička, druga je organska. Prva je nametnuta životnoj sredini, druga je stvara. Prva je dizajnirana za prirodu, drugu je dizajnirala priroda.
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.
Mikelanđelo je rekao da kada posmatra neobrađen mermer, vidi oblike koji se bore da budu oslobođeni. Dleto je bilo jedino Mikelanđelovo oruđe. Ali živa bića nisu isklesana. Ona rastu. I u našim najmanjim jedinicama života, našim ćelijama, nosimo sve informacije koje su potrebne da bi bilo koja druga ćelija funkcionisala i replicirala se.
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.
S oruđima dolaze i posledice. Bar nakon Industrijske revolucije, svetom dizajna dominira krutost fabrikovanja i masovne proizvodnje. Montažne trake su diktirale svet sačinjen od delova, oblikujući maštu dizajnera i arhitekata koji su obučavani da razmišljaju o svojim objektima kao o sklopovima odvojenih delova s različitim 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 nećete naći sklopove homogenih materijala. Uzmite ljudsku kožu, na primer. Naša koža na licu je tanka, sa širokim porama. Naša koža na leđima ja deblja, sa uskim porama. Prva se uglavnom ponaša kao filter, druga je uglavnom barijera, pa ipak, to je ista koža: nema delova, nema sklapanja. To je sistem koji postepeno varira svoju funkcionalnost tako što varira elastičnost. Dakle, ovo je podeljen ekran koji predstavlja moj podeljen pogled na svet, podeljenu ličnost svakog dizajnera i arhitekte koji danas posluju, između dleta i gena, između mašine i organizma, između sklapanja i rasta, između Henrija Forda i Čarlsa Darvina. Ova dva pogleda na svet, mog levog i desnog mozga, analize i sinteze, će da se prikazuju na dva ekrana iza mene. Moj posao, najprostije rečeno, je u ujedinjavanju ova dva pogleda na svet, pomerajući se od sklapanja sve bliže 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.
Verovatno se pitate: zašto sada? Zašto ovo nije bilo moguće pre deset ili bar pre pet godina? Živimo u veoma posebnom istorijskom vremenu, u nesvakidašnjem vremenu, vremenu u kome stapanje četiri oblasti pruža dizajnerima pristup oruđima kojima nikad do sada nismo imali pristup. Ove oblasti su: računarski dizajn, koji nam omogućava da dizajniramo složene oblike jednostavnim kodom; 3D štampa nam omogućuje proizvodnju delova dodavanjem materijala, umesto rezanja istih; inženjering materijala nam omogućuje da dizajniramo svojstva materijala u visokoj rezoluciji; i sintetička biologija nam omogućuje da dizajniramo nova biološka svojstva obradom DNK. A na preseku ove četiri oblasti je stvaralaštvo moje ekipe i mene. 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 predmete i proizvode i strukture i oruđa raznih veličina, od velikih, poput ove robotske ruke sa obimom opsega od 24,4 metra sa osnovom u vidu vozila koja će uskoro da štampa čitave zgrade, do nanometarskih grafika skroz napravljenih od genetski konstruisanih mikroorganizama koji svetle u mraku. Ovde smo nanovo osmislili mašrabiju, arhetip antičke arapske arhitekture, i napravili smo zaslon na kome je svaki otvor jedinstvene veličine, kako bismo uobličili prirodu svetlosti i toplote koja prolazi kroz njega.
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 našem sledećem projektu istražujemo mogućnost kreiranja ogrtača i suknje - ovo je bilo na Pariskoj nedelji mode sa Irisom van Herpenom - koji bi bili poput druge kože, napravljeni iz jednog dela, kruti na obodima, fleksibilni oko struka. Zajedno sa mojim dugogodišnjim saradnikom u 3D štampanju, Stratasisom, ištampali smo u 3D ovaj plašt i ovu suknju bez šavova među ćelijama, i pokazaću vam još sličnih objekata. Ovaj šlem je kombinacija krutih i mekih materijala u rezoluciji od 20 mikrona. To je rezolucija ljudske dlake. Takođe je to rezolucija CT skenera. To što dizajneri imaju pristup ovakvim analitičkim i sintetičkim alatima u tako visokoj rezoluciji omogućuje im da dizajniraju artikle koji se uklapaju s našim telima, ne samo oblikom, već su i fiziološki sačinjeni od naših tkiva. Potom smo dizajnirali akustičnu stolicu, stolicu koja bi ujedno bila strukturna, udobna i takođe bi upijala zvuk. Profesor Karter, moj saradnik, i ja smo u prirodi potražili inspiraciju i dizajniravši ovaj šablon sa nepravilnom površinom, on je postao upijač zvuka. Ištampali smo njegovu površinu od 44 različita svojstva, koja variraju u krutosti, prozirnosti i boji, i koja se poklapaju sa tačkama dodira ljudskog tela. Njegova površina, kao što je i u prirodi, ima varijacije u funkcionalnosti, a postignuta je ne dodavanjem novih materijala ili novih sklopova, već konstantnom i delikatnom varijacijom 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 da li je priroda savršena? Zar i u njoj ne postoje delovi? Nisam odgajana u religioznoj jevrejskoj porodici, ali kad sam bila mala, moja baka mi je pričala priče iz jevrejske Biblije i jedna od njih mi se urezala i ona definiše veći deo mojih vrednosti. Prema njenim rečima: "Trećega dana stvaranja, Bog naredi Zemlji da podari drvo rodno, koje rađa." Kod ove prve voćke, nisu se razlikovali stablo, grane, lišće i voće. Čitavo drvo je bilo voćka. Nasuprot tome, na zemljištu raste drveće koje ima koru, stabljike i cveće. Zemljište je stvorilo svet sačinjen od delova. Često se pitam: "Kako bi izgledao dizajn kad bi predmeti bili napravljeni iz jednog dela? Da li bismo se vratili boljem stadijumu 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 --
Pa smo potražili taj biblijski materijal, taj materijal poput drveta rodnog, koje rađa i pronašli smo ga. Drugi po izobilju biopolimer na planeti se zove hitin i oko 100 miliona tona ovog biopolimera svakodnevno proizvedu organizmi, poput škampi, rakova, škorpija i leptira. Mislili smo da ako bismo podesili njegova svojstva, mogli bismo da dobijemo strukture sa višestrukom namenom iz samo jednog dela. Pa smo to i uradili. Pozvali smo restoran Ligal sifud -
(Laughter)
(Smeh)
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.
poručili smo gomilu ljuštura škampi, samleli smo ih i napravili hitonsku pastu. Varirajući hemijski sastav, bili smo u stanju da dobijemo širok spektar svojstava, od mračnih, krutih i neprozirnih, do svetlih, mekih i prozirnih. Kako bismo štampali strukture većih razmera, sagradili smo sistem za istiskanje sa više mlaznica, koga kontroliše robot. Robot u hodu vrši varijacije materijala i stvara ove građevine od 3,7 metara napravljene iz jednog materijala, 100 posto razgradljive. Kada su delovi gotovi, ostvljamo ih da se suše i da pronađu prirodan oblik u kontaktu s vazduhom. Pa zašto i dalje dizajniramo za plastiku? Vazdušni mehuri koji su bili nusproizvod procesa štampanja su korišćeni za gajenje fotosintetičkih mikroorganizama koji su se prvi put pojavili na našoj planeti pre 3,5 mil. god, kako smo juče saznali. Zajedno sa saradnicima sa Harvarda i MIT-a, napravili smo bakteriju koja je genetski konstruisana da brzo hvata ugljenik iz atmosfere i pretvara ga u šećer. Prvi put smo bili u stanju da napravimo strukture koje bi neprimetno prelazile iz snopa u mrežu, a bile su veće i od prozora. Drvo rodno, koje rađa. Radeći sa drevnim materijalom, jednim od prvih oblika života na planeti, uz mnogo vode i malo sintetičke biologije, bili smo u stanju da preobratimo strukture napravljene od ljuski škampa u arhitekturu koja se ponaša kao drvo. A ovo je najbolji deo: kako su to biorazgradljivi objekti, stavite ih u more i hraniće morski život; stavite ih u tlo i pospešiće rast drveća.
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.
Prostor našeg sledećeg istraživanja, koristeći iste principe je bio solarni sistem. Razmatrali smo mogućnost stvaranja odeće koja sadrži žive organizme za međuplanetarna putovanja. Da bismo to uradili, morali smo da uzmemo bakterije i kontrolišemo njihov tok. Slično periodnom sistemu, mi smo osmislili sopstveni sistem elemenata: nove oblike života koji su uzgajani računarski, 3D odštampani i biološki uvećani. Volim da razmišljam o sintetičkoj biologiji kao o alhemiji tečnosti, samo što umesto pretvaranja plemenitih metala, sintetizujete nove biološke funkcije unutar veoma malih kanala. To se zove mikrofluidika. Ištampali smo u 3D sopstvene kanale, kako bismo kontrolisali tok ovih tečnih bakterijskih kultura. U našem prvom komadu odeće, kombinovali smo dva mikroorganizma. Prvi je modrozelena alga. Živi u našim okeanima i u slatkovodnim jezerima. A drugi je ešerihija koli, bakterija koja živi u ljudskim crevima. Prvi pretvara svetlost u šećer, drugi se hrani tim šećerom i proizvodi biogoriva koja su korisna za konstruisanu sredinu. Sad, ova dva mikroorganizma nikada ne dolaze u kontakt u prirodi. Zapravo, nikada se ne sreću. Ovde su napravljeni prvi put kako bi ostvarili vezu unutar komada odeće. Razmišljajte o tome kao o evoluciji, ne prirodnim odabirom, već kao o evoluciji po dizajnu. Kako bismo zadržali ove veze, napravili smo samo jedan kanal koji liči na digestivni trakt, koji će da pomogne protok ovih bakterija i da usput izmeni njihove funkcije. Potom smo počeli da uzgajamo ove kanale na ljudskom telu, varirajući svojstva materijala prema željenim svojstvima. Gde smo želeli više fotosinteze, dizajnirali bi transparentnije kanale. Ovaj nosivi digestivni sistem, kada se razvuče s kraja na kraj, proteže se 60 metara. To je polovina dužine fudbalskog terena i 10 puta je duže od našeg tankog creva. I evo, prvi put to prikazujemo na TED-u - naša prva fotosintetička odeća, kanali tečnosti usijani od života unutar nosive odeće.
(Applause)
(Aplauz)
Thank you.
Hvala vam.
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.
Meri Šeli je rekla: "Mi smo bezoblična bića, tek do pola formirana." Šta ako dizajn može da nam obezbedi tu drugu polovinu? Šta ako možemo da napravimo strukture koje bi uvećale živu tvar? Šta ako bismo stvorili lične mikrobiome koji bi skenirali našu kožu, popravljajući oštećeno tkivo i koji bi održavali naša tela? Razmišljajte o ovome kao o vidu redigovane biologije. Čitava ova kolekcija, "Vonderers", koja je nazvana po planetama, meni zaista nije važna moda sama po sebi, pružila mi je priliku da razmišljam o budućnosti o našoj vrsti na našoj planeti i dalje, da kombinujem naučni pogled sa mnogo misterije i da napravim otklon od doba mašina do novog doba simbioze među našim telima, mikroorganizmima koji žive u nama, našim proizvodima, pa i našim građevinama. Ovaj materijal zovem 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 bismo to postigli, uvek moramo da se vratimo prirodi. Za sada vam je poznato da 3D štampač štampa materijale u slojevima. Takođe znate da priroda tako ne radi. Ona uzgaja. Dodaje sofisticirano. Čaura svilene bube, na primer, stvara veoma prefinjenu arhitekturu, dom unutar koga metamorfozira. Nijedan današnji 3D štampač nije ni blizu tog nivoa prefinjenosti. Ona to radi kombinujući, ne dva materijala, već dva proteina u različitim koncentracijama. Jedan se ponaša kao građa, drugi je lepak iliti matrica, on drži na okupu sva ta vlakna. A to se dešava bez obzira na veličinu. Svilena buba se prvo zakači za okolinu - stvara rastegljivu građu - a potom počinje da prede zbijenu čauru. Rastegljivost i zbijenost, dve sile života, ispoljene u jednom 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 bismo bolje razumeli kako ovaj složeni proces funkcioniše, zalepili smo sićušni zemljani magnet na glavu svilene bube, na prelju. Smestili smo je u kutiju sa magnetskim senzorima, a to nam je omogućilo da stvorimo ovaj 3D oblak od tačaka i da vizualizujemo složenu arhitekturu čaure svilene bube. Međutim, kada smo stavili svilenu bubu na ravno tlo, ne unutar kutije, shvatili smo da tada ispreda ravnu čauru i da i dalje zdravo metamorfozira. Pa smo počeli da dizajniramo različite sredine, različite skele i otkrili smo da na oblik, kompoziciju, strukturu čaure, sredina direktno utiče.
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.
Svilene bube se često skuvaju na smrt unutar svojih čaura, potom se njihova svila razvija i koristi u tekstilnoj industriji. Shvatili smo da nam dizajniranje ovih šablona omogućuje oblikovanje sirove svile a da pri tom ne skuvamo ni jednu čauru.
(Applause)
(Aplauz)
They would healthily metamorphisize, and we would be able to create these things.
One bi zdravo metamorfozirale, a mi bismo bili u stanju da napravimo sve ovo.
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.
Pa smo uvećali ovaj proces do arhitektonskih razmera. Robot nam je ispreo šablon od svile, koji smo postavili na mesto gradnje. Znali smo da se svilene bube sele ka mračnijim i hladnijim mestima, pa smo koristili dijagram sunčevog hoda kako bismo otkrili raspored svetla i toplote na našoj građevini. Potom smo napravili rupe ili otvore, koji bi zarobili svetlosne i toplotne zrake, raspoređujući sve te svilene bube po građevini.
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 isporuku gusenica. Poručili smo preko interneta 6,500 svilenih buba sa farme. I nakon četiri nedelje uzgajanja, bile su spremne da sa nama predu. Pažljivo smo ih smestili na donje obode skela, a kako predu, one se učauravaju, pare, legu jaja i život kreće ispočetka - baš kao i naš, samo mnogo, mnogo kraći.
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.
Baki Fuler je rekao da je rastegljivost veliki integritet i bio je u pravu. Kako predu biološku svilu preko robotski ispredene svile, one pružaju čitavom ovom paviljonu integritet. I za dve do tri nedelje, 6,500 svilenih buba isprede 6,500 kilometara. Zanimljiva podudarnost: ovo je takođe i dužina Puta svile. Moljci prilikom polaganja jaja proizvedu 1,5 miliona jajašaca. Ovo može da se iskoristi za još 250 paviljona u budućnosti.
So here they are, the two worldviews. One spins silk out of a robotic arm, the other fills in the gaps.
Dakle, to su dva pogleda na svet. Jedan prede svilu robotskom rukom, drugi popunjava rupe.
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 krajnji cilj dizajna udisanje života u proizvode i građevine oko nas, formiranje ekologije od dva materijala, onda dizajneri moraju da ujedine ova dva pogleda na svet. Što nas vraća, naravno, na početak. Živelo novo doba dizajna, novo doba stvaranja, koje će nas udaljiti od dizajna inspirisanog prirodom do prirode inspirisane dizajnom i koji će zahtevati od nas, prvi put, da budemo majka prirodi.
Thank you.
Hvala vam.
(Applause)
(Aplauz)
Thank you very much. Thank you.
Mnogo vam hvala. Hvala vam.
(Applause)
(Aplauz)