When I was little -- and by the way, I was little once -- my father told me a story about an 18th century watchmaker. And what this guy had done: he used to produce these fabulously beautiful watches. And one day, one of his customers came into his workshop and asked him to clean the watch that he'd bought. And the guy took it apart, and one of the things he pulled out was one of the balance wheels. And as he did so, his customer noticed that on the back side of the balance wheel was an engraving, were words. And he said to the guy, "Why have you put stuff on the back that no one will ever see?" And the watchmaker turned around and said, "God can see it." Now I'm not in the least bit religious, neither was my father, but at that point, I noticed something happening here. I felt something in this plexus of blood vessels and nerves, and there must be some muscles in there as well somewhere, I guess. But I felt something. And it was a physiological response. And from that point on, from my age at the time, I began to think of things in a different way.
Kur isha i vogel -- dhe meqe ra fjala, kam qene i vogel dikur -- babai im ma tregoi nje tregim per nje orepunues te shekullit te 18-te dhe cka kishte bere ky njeri ai prodhonte keto ore mrekullisht te bukura. Dhe nje dite, nje prej klienteve hyri ne punetorine e tij dhe i kerkoi t'ia pastronte oren qe kishte blere. dhe orepunuesi e cmontoi, dhe nje prej gjerave qe hoqi ishte nje prej rrotave te balancit. Nderkohe qe ai e beri kete, klienti i tij verejti se ne anen e pasme te rrotes se balancit ishte nje gdhendje, ishin fjale. Dhe ai i tha orepunuesit, "Pse ke vene gjera mbrapa ku askush nuk do t'i shohe ndonjehere?" Dhe orepunuesi u kthye dhe tha, "Zoti mund ta shohe." Tani, une nuk jam aspak fetar, e as babai im nuk ishte, por ne kete pike, verejta se dicka po ndodhte ketu. Ndjeva dicka ne kete rrjet enesh gjaku dhe nervash, dhe aty diku duhet te kete edhe disa muskuj gjithashtu, ma merr mendja. Por une ndjeva dicka. Dhe kjo ishte nje pergjigje fiziologjike. Dhe prej atij momenti e tutje, prej moshes sime ne ate kohe, une fillova te mendoj per gjerat ne nje tjeter menyre.
And as I took on my career as a designer, I began to ask myself the simple question: Do we actually think beauty, or do we feel it? Now you probably know the answer to this already. You probably think, well, I don't know which one you think it is, but I think it's about feeling beauty. And so I then moved on into my design career and began to find some exciting things. One of the most early work was done in automotive design -- some very exciting work was done there. And during a lot of this work, we found something, or I found something, that really fascinated me, and maybe you can remember it. Do you remember when lights used to just go on and off, click click, when you closed the door in a car? And then somebody, I think it was BMW, introduced a light that went out slowly. Remember that? I remember it clearly. Do you remember the first time you were in a car and it did that? I remember sitting there thinking, this is fantastic. In fact, I've never found anybody that doesn't like the light that goes out slowly. I thought, well what the hell's that about?
Dhe pasi qe mora karrieren time si dizajner, fillova t'ia bej vetes pyetjen e thjeshte: Ne te vertete, a e mendojme ne bukurine, apo e ndjejme? Ju me gjase tashme e dini pergjigjen ne kete pyetje. Ju me gjase mendoni, epo, nuk e di se cila mendon ti se eshte, por une mendoj se ka te beje me te ndjerit e bukurise. Dhe keshtu pastaj une vazhdova ne karrieren time te dizajnit dhe fillova te zbuloj disa gjera ngazellyese. Nje prej veprave me te hershme u be ne dizajnin e automjeteve -- aty u be nje pune shume ngazellyese. Dhe pergjate nje pjese te mire te kesaj pune, ne gjetem dicka, ose une gjeta dicka, qe me te vertete me magjepsi, dhe ndoshta ju mund ta kujtoni. A mbani mend kur dritat vetem ndizeshin dhe fikeshin, klik klik, kur e mbyllnit deren e vetures? Dhe pastaj dikush, me duket se ishte BMW, paraqiti nje drite qe fikej ngadale. Ju kujtohet kjo? Mua me kujtohet qarte. A ju kujtohet hera e pare kur ishit ne veture dhe ndodhi kjo? Mua me kujtohet te jem ulur aty duke menduar, kjo eshte fantastike. Ne fakt, une nuk kam takuar aske qe nuk e pelqen driten qe fiket ngadale. Mendova, epo pse dreqin eshte kjo?
So I started to ask myself questions about it. And the first was, I'd ask other people: "Do you like it?" "Yes." "Why?" And they'd say, "Oh, it feels so natural," or, "It's nice." I thought, well that's not good enough. Can we cut down a little bit further, because, as a designer, I need the vocabulary, I need the keyboard, of how this actually works. And so I did some experiments. And I suddenly realized that there was something that did exactly that -- light to dark in six seconds -- exactly that. Do you know what it is? Anyone?
Keshtu qe fillova t'i bej vetes pyetje per kete. Dhe e para ishte, do t'i pyesja njerezit e tjere: "A te pelqen kjo?" "Po." "Pse?" Dhe ata do te thonin, "Oh, ndjehet shume natyrale," ose, "Eshte e kendshme." Mendova, epo kjo nuk eshte mjaft mire. A mund te shkojme pak me tutje, sepse, si dizajner, mua me duhet fjalori, se si kjo funksionon. Dhe keshtu une bera disa eksperimente. Dhe papritmas e kuptova qe kishte dicka qe e bente saktesisht kete -- prej drites ne terr ne gjashte sekonda -- saktesisht kete. A e dini se cka eshte? Ndokush?
You see, using this bit, the thinky bit, the slow bit of the brain -- using that. And this isn't a think, it's a feel. And would you do me a favor? For the next 14 minutes or whatever it is, will you feel stuff?
E shihni, duke e perdorur kete pjesez, pjesezen menduese, pjesezen e ngadalte te trurit -- duke e perdorur kete. Dhe ky nuk eshte nje mendim, eshte nje ndjenje. Dhe a do te ma beni nje nder? Per 14 minutat e ardhshme a sado qe eshte, a do te ndjeni gjera?
I don't need you to think so much as I want you to feel it. I felt a sense of relaxation tempered with anticipation. And that thing that I found was the cinema or the theater. It's actually just happened here -- light to dark in six seconds. And when that happens, are you sitting there going, "No, the movie's about to start," or are you going, "That's fantastic. I'm looking forward to it. I get a sense of anticipation"? Now I'm not a neuroscientist. I don't know even if there is something called a conditioned reflex. But it might be. Because the people I speak to in the northern hemisphere that used to go in the cinema get this. And some of the people I speak to that have never seen a movie or been to the theater don't get it in the same way. Everybody likes it, but some like it more than others.
Nuk me duhet qe te mendoni gjithaq sa dua ta ndjeni. Une ndjeva nje sens relaksi te perzier me mezipritje. Dhe gjeja qe une zbulova ishte kinemaja ose teatri. Ne fakt, sapo ndodhi ketu -- prej drites ne terr ne gjashte sekonda. Dhe kur kjo ndodhe, a rrini aty duke menduar, "Jo, filmi eshte duke filluar," ose mendoni, "Kjo eshte fantastike. Mezi po pres. Kam nje ndjenje mezipritjeje"? Tani, une nuk jam nje neuroshkencetar. Une madje nuk di a ka dicka qe quhet refleks i kushtezuar. Por mund te kete. Sepse njerezit me te cilet une flas ne hemisferen veriore qe shkonin ne kinema, e perjetojne kete. Dhe disa prej njerezve me te cilet flas qe nuk kane pare kurre nje film ose s'kane qene kurre ne teater nuk e perjetojne ne te njejten menyre. Te gjitheve u pelqen, por disave me shume se te tjereve.
So this leads me to think of this in a different way. We're not feeling it. We're thinking beauty is in the limbic system -- if that's not an outmoded idea. These are the bits, the pleasure centers, and maybe what I'm seeing and sensing and feeling is bypassing my thinking. The wiring from your sensory apparatus to those bits is shorter than the bits that have to pass through the thinky bit, the cortex. They arrive first. So how do we make that actually work? And how much of that reactive side of it is due to what we already know, or what we're going to learn, about something?
Keshtu qe kjo me ben qe te mendoj rreth kesaj ne nje tjeter menyre. Ne nuk e ndjejme ate. Ne mendojme se bukuria eshte ne sistemin limbik -- nese kjo nuk eshte nje ide e vjeteruar Keto jane pjesezat, qendrat e kenaqesise, dhe ndoshta ajo qe jam duke e pare dhe ndjere po e anashkalon te menduarit tim. Lidhjet prej aparatit tuaj ndjesor deri te keto pjeseza eshte me e shkurter se pjesezat qe duhet te kalojne permes pjesezes menduese, kores se trurit. Ato mberrijne te parat. Pra si e bejme kete te funksionoje? Dhe sa prej pjeses reaguese te saj eshte pasoje e asaj qe tashme e dime? ose asaj qe do te mesojme, rreth dickaje?
This is one of the most beautiful things I know. It's a plastic bag. And when I looked at it first, I thought, no, there's no beauty in that. Then I found out, post exposure, that this plastic bag if I put it into a filthy puddle or a stream filled with coliforms and all sorts of disgusting stuff, that that filthy water will migrate through the wall of the bag by osmosis and end up inside it as pure, potable drinking water. And all of a sudden, this plastic bag was extremely beautiful to me.
Kjo eshte nje prej gjerave me te bukura qe une njoh. Eshte nje qese plastike. Dhe kur e shikova per here te pare, mendova, jo, nuk ka bukuri ne te. Pastaj e zbulova, mbas ekspozimit, se kjo qese plastike, nese e vendos ne nje pellg te ndyre ose nje perrua te mbushur me baktere dhe te gjitha llojet e gjerave te peshtira, atehere ai uje i ndyre do te levize neper murin e qeses nepermjet osmozes dhe te perfundoje brenda saj si uje i paster, i pijshem. Dhe krejt papritmas, kjo qese plastike ishte jashtezakonisht e bukur per mua.
Now I'm going to ask you again to switch on the emotional bit. Would you mind taking the brain out, and I just want you to feel something. Look at that. What are you feeling about it? Is it beautiful? Is it exciting? I'm watching your faces very carefully. There's some rather bored-looking gentlemen and some slightly engaged-looking ladies who are picking up something off that. Maybe there's an innocence to it. Now I'm going to tell you what it is. Are you ready? This is the last act on this Earth of a little girl called Heidi, five years old, before she died of cancer to the spine. It's the last thing she did, the last physical act. Look at that picture. Look at the innocence. Look at the beauty in it. Is it beautiful now?
Tani do t'ju pyes serish te kaloni ne pjesezen emocionale. A do t'ju pengonte ta largoni trurin, dhe une vetem ju kerkoj qe te ndjeni dicka Shikoni kete. Cka ndjeni per te? A eshte e bukur? A eshte ngazellyese? Po i shikoj fytyrat tuaja me shume kujdes. Aty eshte nje zoteri qe duket goxha i merzitur dhe disa zonja qe duken pak te interesuara qe po nxjerrin dicka prej kesaj. Ndoshta ka nje pafajesi ne te. Tani do t'ju tregoj se cka eshte. A jeni gati? Kjo eshte vepra e fundit ne Toke e nje vajze te vogel te quajtur Heidi, pese vjec, para se te vdiste prej kancerit ne shpine. eshte gjeja e fundit qe ka bere, veprimi i fundit fizik. Shikojeni kete vizatim. Shikojeni pafajesine. Shikojeni bukurine ne te. A eshte e bukur tani?
Stop. Stop. How do you feel? Where are you feeling this? I'm feeling it here. I feel it here. And I'm watching your faces, because your faces are telling me something. The lady over there is actually crying, by the way. But what are you doing? I watch what people do. I watch faces. I watch reactions. Because I have to know how people react to things. And one of the most common faces on something faced with beauty, something stupefyingly delicious, is what I call the OMG. And by the way, there's no pleasure in that face. It's not a "this is wonderful!" The eyebrows are doing this, the eyes are defocused, and the mouth is hanging open. That's not the expression of joy. There's something else in that. There's something weird happening. So pleasure seems to be tempered by a whole series of different things coming in.
Ndaloni. Ndaloni. Si ndjeheni? Ku po e ndjeni kete? Une po e ndjej ate ketu. E ndjej ketu. Dhe po i shikoj fytyrat tuaja, Sepse fytyrat tuaja po me tregojne dicka. Zonja atje eshte duke duke qare, meqe ra fjala. Por cka jeni duke bere? Une shikoj cka bejne njerezit. Une shikoj fytyrat. Shikoj reagimet. Sepse me duhet te di se si njerezit reagojne ndaj gjerave. Dhe nje prej fytyrave me te zakonshme te dikujt te perballur me bukuri dicka tmerresisht te shijshme eshte ajo qe une quaj OMG (O Zot ) Dhe meqe ra fjala, nuk ka kenaqesi ne ate fytyre Nuk eshte "kjo eshte e mrekullueshme!" vetullat po e bejne kete, syte jane te shperqendruar, dhe goja qendron e hapur. Kjo nuk eshte shprehja e lumturise. Ka dicka tjeter ketu. Dicka e cuditshme po ndodhe. Pra kenaqesia duket se perzihet me nje seri te tere te gjerave te ndryshme qe vijne
Poignancy is a word I love as a designer. It means something triggering a big emotional response, often quite a sad emotional response, but it's part of what we do. It isn't just about nice. And this is the dilemma, this is the paradox, of beauty. Sensorily, we're taking in all sorts of things -- mixtures of things that are good, bad, exciting, frightening -- to come up with that sensorial exposure, that sensation of what's going on. Pathos appears obviously as part of what you just saw in that little girl's drawing. And also triumph, this sense of transcendence, this "I never knew that. Ah, this is something new." And that's packed in there as well. And as we assemble these tools, from a design point of view, I get terribly excited about it, because these are things, as we've already said, they're arriving at the brain, it would seem, before cognition, before we can manipulate them -- electrochemical party tricks.
Mprehtesia eshte nje fjale qe une e dua si dizajner. Nenkupton dicka qe nxit nje pergjigje te madhe emocionale shpesh nje pergjigje emocionale mjaft te trishte por eshte pjese e asaj qe bejme. Nuk ka te beje vetem me kendshmerine Dhe kjo eshte dilema, ky eshte paradoksi, i bukurise. Shqiserisht, ne pranojme te gjitha llojet e gjerave -- perzierje te gjerave qe jane te mira, te keqija, ngazellyese, frikesuese -- per te mberritur ate ekspozim shqisor, ndjesine e asaj qe po ndodhe Patos paraqitet qartesisht si pjese e asaj qe pate ne vizatimin e asaj vajze te vogel. Dhe gjithashtu triumfi, ndjenja e transendences, kjo "Une nuk e dija kete. Ah, kjo eshte dicka e re."™ Dhe kjo eshte pjese e saj gjithashtu. Dhe nderkohe qe ne i mbledhim keto mjete, prej pikepamjes se dizajnit, une ngazellehem tmerresisht prej kesaj, sepse keto jane gjera, siq kemi thene tashme, qe mberrijne ne tru, duket, para kognicionit, para se te mund t'i manipulojme ato -- truqet e festes elektrokimike
Now what I'm also interested in is: Is it possible to separate intrinsic and extrinsic beauty? By that, I mean intrinsically beautiful things, just something that's exquisitely beautiful, that's universally beautiful. Very hard to find. Maybe you've got some examples of it. Very hard to find something that, to everybody, is a very beautiful thing, without a certain amount of information packed in there before. So a lot of it tends to be extrinsic. It's mediated by information before the comprehension. Or the information's added on at the back, like that little girl's drawing that I showed you.
Tani, ajo qe me intereson gjtihashtu eshte: A eshte e mundur t'i ndajme bukurine e brendshme dhe ate te jashtme? Me kete, nenkuptoj gjera mevetesisht te bukura, thjesht dicka qe eshte hiresisht e bukur, qe eshte universalisht e bukur. Shume e veshtire per t'u gjetur. Ndoshta ju keni ndonje shembull te saj. Shume e veshtire per te gjetur dicka qe, per te gjithe, eshte nje gje e bukur. pa nje sasi te caktuar te informacionit te perfshire aty paraprakisht. Keshtu qe nje pjese e madhe e saj ka tendence te jete e jashtme. Eshte e ndermjetesuar prej informacionit para te kuptuarit. Ose informacioni shtohet me pas, sikur vizatimi i asaj vajzes se vogel te cilin ua tregova.
Now when talking about beauty you can't get away from the fact that a lot experiments have been done in this way with faces and what have you. And one of the most tedious ones, I think, was saying that beauty was about symmetry. Well it obviously isn't. This is a more interesting one where half faces were shown to some people, and then to add them into a list of most beautiful to least beautiful and then exposing a full face. And they found that it was almost exact coincidence. So it wasn't about symmetry. In fact, this lady has a particularly asymmetrical face, of which both sides are beautiful. But they're both different.
Tani, kur flisni per bukurine nuk mund t'i ikni faktit qe ne kete fushe jane bere shume eksperimente me fytyra e cka jo. Dhe nje prej me te merzitshmeve, mendoj, thoshte se bukuria ka te beje me simetrine. Epo, qartazi nuk eshte ashtu. Kjo eshte me interesante ku gjysma e fytyrave iu treguan disa njerezve, qe pastaj t'i shtonin ne nje liste te me te bukurave deri te me pak te bukurat dhe pastaj shfaqen fytyren e plote. Dhe gjeten se ishte pothuaj e njejta koincidence. Pra, nuk kishte te bente me simetrine. Ne fakt, kjo zonje ka fytyre vecanerisht asimtrike, ne te cilen te dyja anet jane te bukura. Por ato jane te dyja te ndryshme.
And as a designer, I can't help meddling with this, so I pulled it to bits and sort of did stuff like this, and tried to understand what the individual elements were, but feeling it as I go. Now I can feel a sensation of delight and beauty if I look at that eye. I'm not getting it off the eyebrow. And the earhole isn't doing it to me at all. So I don't know how much this is helping me, but it's helping to guide me to the places where the signals are coming off. And as I say, I'm not a neuroscientist, but to understand how I can start to assemble things that will very quickly bypass this thinking part and get me to the enjoyable precognitive elements.
Dhe si dizajner, nuk mund te mos perzihem ketu, keshtu qe e copezova ne pjese dhe disi bere dicka si kjo, dhe provova te kuptoj se cilat ishin elementet individuale, por, duke e ndjere nderkohe. Tani une mund te kem nje ndjesi te kenaqesise dhe bukurise nese e shikoj ate sy. Nuk jam duke e marre prej vetulles. Dhe vrima e veshit nuk ma jep ate ndjesi fare Keshtu qe une nuk e di se sa po me ndihmon kjo mua, por po me ndihmon duke me udhezuar drejt vendeve prej ku po vijne sinjalet. Dhe sic thashe, une nuk jam neuroshkencetar, por per te kuptuar se si mund te filloj t'i mbledh gjerat qe do ta anashkalojne shume shpejt kete pjese menduese dhe te me dergojne tek elementet e kenaqshme parakognitive
Anais Nin and the Talmud have told us time and time again that we see things not as they are, but as we are. So I'm going to shamelessly expose something to you, which is beautiful to me. And this is the F1 MV Agusta. Ahhhh. It is really -- I mean, I can't express to you how exquisite this object is. But I also know why it's exquisite to me, because it's a palimpsest of things. It's masses and masses of layers. This is just the bit that protrudes into our physical dimension. It's something much bigger. Layer after layer of legend, sport, details that resonate. I mean, if I just go through some of them now -- I know about laminar flow when it comes to air-piercing objects, and that does it consummately well, you can see it can. So that's getting me excited. And I feel that here.
Anais Nin dhe Talmudi na ka thene shume here qe ne i shohim gjerat jo ashtu sic jane, por ashtu sic jemi ne. Keshtu qe une do t'u tregoj paturpesisht dicka, qe eshte e bukur per mua. Dhe kjo eshte F1 MV Agusta. Ahhh Eshte vertete -- dua te them, nuk mund t'ua shpreh sa i hirshem eshte ky objekt. Por une gjithashtu e di se pse eshte i hirshem per mua, sepse eshte nje sipervendosje e gjerave. Jane masa dhe masa te shtresave. Kjo eshte vec pjesa qe zgjatet ne dimensionin tone fizik. Eshte dicka shume me e madhe. Shtrese pas shtrese te mbishkrimeve te gdhendura, sportit, detajeve qe rezonojne Po mendoj, nese vec do te kaloja neper disa prej tyre tani -- Une di per rrymimin shtresor kur eshte fjala per objekte ajer-shpuese, dhe e ben plotesisht mire, mund ta shihni se mundet. Keshtu qe kjo po me ngazellen. Dhe e ndjej ate ketu.
This bit, the big secret of automotive design -- reflection management. It's not about the shapes, it's how the shapes reflect light. Now that thing, light flickers across it as you move, so it becomes a kinetic object, even though it's standing still -- managed by how brilliantly that's done on the reflection. This little relief on the footplate, by the way, to a rider means there's something going on underneath it -- in this case, a drive chain running at 300 miles and hour probably, taking the power from the engine. I'm getting terribly excited as my mind and my eyes flick across these things.
Kjo pjese, sekreti i madh i dizajnit te automjeteve -- menaxhimi i pasqyrimit. Nuk ka te beje me format, ka te beje me ate se si format e reflektojne driten. Tani kjo gje, drita shkelqen neper te perderisa ju levizni, keshtu qe behet nje objekt kinetik, edhe pse eshte duke qendruar pa levizur -- menaxhuar prej asaj se sa ne menyre briliante eshte bere kjo ne reflektim. ky relief i vogel ne platforme, meqe ra fjala, per vozitesin nenkupton se dicka eshte duke ndodhur nen te -- ne kete rast, nje zinxhir qe leviz me shpejtesi 483 km ne ore ndoshta, i cili e merr fuqine prej motorit. Une jam duke u ngazellyer tmerresisht shume nderkohe qe mendja dhe syte e mi levizin pergjate ketyre gjerave.
Titanium lacquer on this. I can't tell you how wonderful this is. That's how you stop the nuts coming off at high speed on the wheel. I'm really getting into this now. And of course, a racing bike doesn't have a prop stand, but this one, because it's a road bike, it all goes away and it folds into this little gap. So it disappears. And then I can't tell you how hard it is to do that radiator, which is curved. Why would you do that? Because I know we need to bring the wheel farther into the aerodynamics. So it's more expensive, but it's wonderful. And to cap it all, brand royalty -- Agusta, Count Agusta, from the great histories of this stuff.
Llak titani ne kete. Nuk mund t'ua tregoj se sa e mrekullueshme eshte kjo. Keshtu parandalohen te cmendurit prej ardhjes me shpejtesi te madhe mbi rrota. Tani me te vertete jam duke u perfshire ketu. Dhe sigurisht, nje biciklete garash nuk e ka pjesen qe e mban ne vend kur nuk eshte ne levizje, por kjo, per shkak se eshte nje biciklete e rruges, ajo largohet dhe paloset ne kete hapesiren e vogel. Pra zhduket. Dhe pastaj nuk mund t'ju tregoj se sa e veshtire eshte te behet ky radiator, e cili eshte i lakuar. Pse do ta beje kete? Sepse e di se duhet ta cojme rroten me larg ne aerodinamike. Keshtu qe eshte me e shtrenjte, por eshte e mrekullueshme. Dhe per t;i vene kapakun te gjithave, marke mbreterore -- Agusta, Count Agusta, prej historive te medha te kesaj gjeje.
The bit that you can't see is the genius that created this. Massimo Tamburini. They call him "The Plumber" in Italy, as well as "Maestro," because he actually is engineer and craftsman and sculptor at the same time. There's so little compromise on this, you can't see it.
Pjeseza qe ju nuk mund ta shihni eshte gjeniu qe e krijoi kete. Massimo Tamburini. Ate e therrasin "Hidrauliku" ne Itali, dhe gjithashtu "Mjeshter," sepse ai ne te vertete eshte inxhinier dhe zanatci e skulptor ne te njejten kohe. Ka aq pak kompromis ne kete, ju nuk mund ta shihni.
But unfortunately, the likes of me and people that are like me have to deal with compromise all the time with beauty. We have to deal with it. So I have to work with a supply chain, and I've got to work with the technologies, and I've got to work with everything else all the time, and so compromises start to fit into it. And so look at her. I've had to make a bit of a compromise there. I've had to move that part across, but only a millimeter. No one's noticed, have they yet? Did you see what I did? I moved three things by a millimeter. Pretty? Yes. Beautiful? Maybe lesser. But then, of course, the consumer says that doesn't really matter. So that's okay, isn't it? Another millimeter? No one's going to notice those split lines and changes. It's that easy to lose beauty, because beauty's incredibly difficult to do. And only a few people can do it. And a focus group cannot do it. And a team rarely can do it. It takes a central cortex, if you like, to be able to orchestrate all those elements at the same time.
Por fatkeqesisht, njerezit si une dhe ata qe me ngjajne, duhet tere kohen te merren me kompromise me bukurine. Na duhet te merremi me te. Keshtu qe me duhet te punoj me nje zingjirin e furnizimit, dhe me duhet te punoj me teknologjite, dhe me duhet te punoj me cdo gje tjeter tere kohen, dhe keshtu, kompromiset fillojne te hyjne aty. Dhe keshtu, shikojeni ate. Me eshte dashur te bej nje kompromis te vogel aty. Me eshte dashur ta leviz ate pjese pertej, por vetem per nje milimeter. Askush nuk e ka verejtur ende, apo jo? A e pate se cfare bera? Leviza tri gjera per nje milimeter. Kendshem? Po. Bukur? Ndoshta me pak. Por pastaj, sigurisht, konsumatori thote se kjo nuk ka vertete rendesi. Pra kjo eshte ne rregull, apo jo? Edhe nje milimeter? Askush nuk do t'i vereje ato vija te shkeputura dhe ndryshimet. Eshte kaq e lehte te humbet bukuria, sepse bukuria eshte jashtezakonisht e veshtire per t'u bere. Dhe vetem disa njerez mund ta bejne ate. Dhe nje fokus grup nuk mund ta beje ate. Dhe nje ekip rralle here mundet. Duhet nje kore qendrore, po te doni, per te qene ne gjendje te orkestroje te gjitha ato elemente ne te njejten kohe.
This is a beautiful water bottle -- some of you know of it -- done by Ross Lovegrove, the designer. This is pretty close to intrinsic beauty. This one, as long as you know what water is like then you can experience this. It's lovely because it is an embodiment of something refreshing and delicious. I might like it more than you like it, because I know how bloody hard it is to do it. It's stupefyingly difficult to make something that refracts light like that, that comes out of the tool correctly, that goes down the line without falling over. Underneath this, like the story of the swan, is a million things very difficult to do. So all hail to that. It's a fantastic example, a simple object. And the one I showed you before was, of course, a massively complex one. And they're working in beauty in slightly different ways because of it.
Kjo eshte nje shishe e bukur uji -- disa prej jush e njohin -- e bere prej Ross Lovegrove, dizejnatori. Kjo eshte mjaft afer bukurise se brendshme. Kjo, perderisa e dini se si eshte uji pastaj mund ta perjetoni kete. Eshte e kendshme sepse eshte formesim i dickaje te fresket dhe te shijshme. Mua mund te me pelqeje me shume se sa juve, sepse une e di se sa e veshtire eshte te behet. Eshte marrezisht e veshtire te behet dicka qe e then driten ashtu, qe del prej mjetit ne menyre te sakte, qe shkon poshte pa u rrezuar. Nen kete, si tregimi i mjellmes, jane nje milion gjera shume te veshtira per t'u bere. Pra gjithe levdatat per kete. Eshte nje shembull fantastik, nje objekt i thjeshte. Dhe ai te cilin ua tregova me pare ishte, sigurisht, nje shume kompleks. Dhe ata punojne ne bukuri, ne menyra pak te ndryshme per shkak te kesaj.
You all, I guess, like me, enjoy watching a ballet dancer dance. And part of the joy of it is, you know the difficulty. You also may be taking into account the fact that it's incredibly painful. Anybody seen a ballet dancer's toes when they come out of the points? While she's doing these graceful arabesques and plies and what have you, something horrible's going on down here. The comprehension of it leads us to a greater and heightened sense of the beauty of what's actually going on.
Te gjithe juve, ma merr mendja, si mua, u pelqen te shikoni nje balerine te vallezoje. Dhe pjese e kenaqesise eshte, e dini, veshtiresia. Ju gjithashtu mund te merrni parasysh faktin se eshte jashtezakoisht e dhimbshme. A i ka pare ndokush gishtat e nje balerine kur i nxjerrin prej kepuceve? Nderkohe qe ajo i ben keto arabeska e perkulje te hijshme e cka jo, dicka e tmerrrshme eshte duke ndodhur ketu poshte. Te kuptuarit e kesaj na con ne drejt nje brendesimi me te madh dhe me te larte te bukurise se asaj qe eshte duke ndodhur.
Now I'm using microseconds wrongly here, so please ignore me. But what I have to do now, feeling again, what I've got to do is to be able to supply enough of these enzymes, of these triggers into something early on in the process, that you pick it up, not through your thinking, but through your feeling. So we're going to have a little experiment. Right, are you ready? I'm going to show you something for a very, very brief moment. Are you ready? Okay. Did you think that was a bicycle when I showed it to you at the first flash? It's not. Tell me something, did you think it was quick when you first saw it? Yes you did. Did you think it was modern? Yes you did. That blip, that information, shot into you before that. And because your brain starter motor began there, now it's got to deal with it. And the great thing is, this motorcycle has been styled this way specifically to engender a sense that it's green technology and it's good for you and it's light and it's all part of the future.
Tani une jam duke i perdorur mikrosekondat gabimisht ketu, keshtu qe ju lutem me injoroni. Por ajo qe duhet te bej tani, te ndjej serish, ajo qe duhet te bej eshte te jem ne gjendje te furnizoj mjaft prej ketyre enzimeve, te ketyre shkrepjeve ne dicka te hershme ne proces, qe ju ta kapni, jo permes te menduarit tuaj, por permes te ndjerit. Keshtu qe do ta bejme nje eksperiment te vogel. Do t'ju tregoj dicka per nje moment shume, shume te shkurter. A jeni gati? Ne rregull. A menduat se ajo ishte nje biciklete kur ua tregova ne momentin e pare? Nuk eshte. Me tregoni dicka, a menduat se eshte e shpejte kur e pate per here te pare? Po menduat. A menduat se eshte moderne? Po menduat. Ajo shkrepje, ai informcion, ju ka goditur para saj. Dhe per shkak se motori i nisjes se trurit tuaj filloi aty, tani duhet te merret me te. Dhe gjeja e mrekullueshme eshte se kjo motociklete eshte dizajnuar ne kete menyre specifike per te shkaktuar ndjenjen se eshte teknologji e gjelber dhe eshte e mire per ju dhe eshte e lehte dhe eshte e gjitha pjese e se ardhmes.
So is that wrong? Well in this case it isn't, because it's a very, very ecologically-sound piece of technology. But you're a slave of that first flash. We are slaves to the first few fractions of a second -- and that's where much of my work has to win or lose, on a shelf in a shop. It wins or loses at that point. You may see 50, 100, 200 things on a shelf as you walk down it, but I have to work within that domain, to ensure that it gets you there first.
Pra a eshte kjo gabim? Epo, ne kete rast nuk eshte. sepse eshte nje pjese teknologjike shume, shume e arsyeshme ekologjikisht. Por ju jeni rob ne ate shkrepje te pare. Ne jemi rober te disa pjesezave te para te nje sekondi -- dhe kjo eshte ku puna ime mund te humbe ose te fitoje, ne nje raft te shitores. Fiton ose humbe ne ate pike. Ju mund te shihni 50,100, 200 gjera ne nje raft nderkohe qe ecni pergjate tij, por une duhet te punoj ne ate fushe, per t'u siguruar qe t'ju nxe aty se pari.
And finally, the layer that I love, of knowledge. Some of you, I'm sure, will be familiar with this. What's incredible about this, and the way I love to come back to it, is this is taking something that you hate or bores you, folding clothes, and if you can actually do this -- who can actually do this? Anybody try to do this? Yeah? It's fantastic, isn't it? Look at that. Do you want to see it again? No time. It says I have two minutes left, so we can't do this. But just go to the Web, YouTube, pull it down, "folding T-shirt." That's how underpaid younger-aged people have to fold your T-shirt. You didn't maybe know it. But how do you feel about it? It feels fantastic when you do it, you look forward to doing it, and when you tell somebody else about it -- like you probably have -- you look really smart. The knowledge bubble that sits around the outside, the stuff that costs nothing, because that knowledge is free -- bundle that together and where do we come out?
Dhe ne fund, shtresa qe une e dua, e njohurise. Disa prej jush, jam i sigurt, e kane te njohur kete. Cka eshte e pabesueshme lidhur me kete, dhe menyra qe mua me pelqen te kthehem tek ajo, eshte se kjo merr dicka qe ju e urreni ose ju merzite, palosja e rrobave, dhe nese ju mund ta beni kete -- kush mund ta beje kete? Ka provuar ndokush ta beje kete? Po Eshte fantastike, apo jo? Shikojeni kete. Deshironi ta shihni serish? Nuk ka kohe. Thote se me kane mbetur dy minuta, keshtu qe nuk mund ta bejme kete. Por vec shkoni ne Web, YouTube, kerkoni, "folding T-shirt." (Palosja e fanelles) Ja si te rinjte e nen-paguar duhet te palosin fanellat tuaja. Ndoshta nuk e dinit. Por si ndjeheni lidhur me te? Ju duket fantastike kur ju e beni ate, mezi prisni ta beni, dhe kur i tregoni dikujt tjeter per ate -- cka me gjase e keni bere -- ju dukeni vertete i zgjuar. Flluska e njohurise qe qendron perreth se jashtmes, ajo gje nuk kushton asgje. sepse ajo njohuri eshte falas -- grumbullojeni ate dhe ku dalim?
Form follows function? Only sometimes. Only sometimes. Form is function. Form is function. It informs, it tells us, it supplies us answers before we've even thought about it. And so I've stopped using words like "form," and I've stopped using words like "function" as a designer. What I try to pursue now is the emotional functionality of things. Because if I can get that right, I can make them wonderful, and I can make them repeatedly wonderful. And you know what those products and services are, because you own some of them. They're the things that you'd snatch if the house was on fire. Forming the emotional bond between this thing and you is an electrochemical party trick that happens before you even think about it.
Forma e ndjek funksionin? Vetem ndonjehere. Vetem ndonjehere. Forma eshte funksion. Forma eshte funksion. Ajo na informon, na tregon, na furnizon me pergjigje para se te kemi menduar per te. Dhe keshtu une kam ndaluar se perdoruri fjale si "forme," dhe kam ndaluar se perdoruri fjale si "funksion' si dizajner. Ajo qe do te mundohem te ndjek tani eshte funkisionaliteti emocional i gjerave. Sepse nese mund t'ia qelloj kesaj, Une mund t'i bej ato te mrekullueshme, dhe mund t'i bej ato te mrekullueshme ne menyre te perseritshme. Dhe ju e dini se cilat jane ato produkte dhe sherbime, sepse posedoni disa prej tyre. Ato jane gjerat qe do te rrembenit nese shtepia do te digjej. Krijimi i lidhjes emocionale mes kesaj gjeje dhe jush eshte nje truk i festes elektrokimike qe ndodh para se ju te mendoni per te.
Thank you very much.
Ju falemnderit.
(Applause)
Duartrokitje