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.
在我小的時候 -- 對了,我也曾年輕過 -- 父親告訴我一個 關於一位 18 世紀製錶匠的故事。 他做了什麼呢? 他會製造美麗絕倫的手錶。 有天,他店裡來了個客人, 請他清理自己買的錶。 製錶匠拆開了錶, 在取出的零件中有個平衡擺輪。 就在他取出零件時,這名客人發現 在平衡擺輪的背面有刻痕, 上面刻了字。 於是他跟製錶匠說, 「幹嘛把字刻在背面 又沒人會看見? 」 製錶匠轉身回答, 「上帝會看見。」 其實我沒什麼宗教信仰, 我父親也是, 但在這一刻,我注意到似乎有些事情即將在這裡發生。 我覺得有些東西 在這裡的血管和神經叢中萌發, 當然,我想這裡面也有些肌肉吧。 不過,我確實感覺到了什麼。 而那是種生理反應。 從那一刻開始,在我當時那個年紀的時候, 我開始用不同的方式思考事情。
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?
而當我選擇從事設計時, 我開始問自己一個簡單的問題: 美,是我們的想法? 還是真實的感受? 各位也許都已有了答案。 你或許會說,我不知道你怎麼想, 但我認為美是感受到的。 就這樣,在我投身設計事業而且越做越深入的過程中, 我開始發現一些令人興奮的東西。 我最早的設計領域是汽車設計, 也做了一些很令人興奮的作品。 在許多這類作品中, 我們發現了,或該說我發現了, 一件令我十分著迷的事,也許大家還記得這件事。 還記得當你關上車門時,會發出喀喀兩聲, 而車燈會突然亮一下然後熄滅? 後來有人,我想是 BMW, 引進一種會慢慢漸暗的燈。 想起來了嗎? 我記憶猶新。 還記得自己第一次在車裡看到燈光漸暗嗎? 我記得當時坐在車上想,這太棒了! 事實上,我從沒遇過有人 不喜歡這種漸暗的車燈設計。 我思考著,這是怎麼回事?
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?
於是,我開始問自己和這相關的問題。 首先,我會去問別人「你喜歡這樣的效果嗎?」「喜歡」 「為什麼?」他們會說「喔,因為感覺非常自然」 或者「因為很不錯」 對我來說,這樣的答案還不夠好。 可以再深入解釋嗎? 因為身為一個設計師,我需要那個關鍵字和正確工具 來解釋其成因。 因此,我做了一些實驗。 之後我突然發現 事實上,某種東西上就有這樣的效果 -- 在 6 秒內由亮漸暗 -- 完全一模一樣。 大家知道是什麼嗎?有人知道嗎?
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?
知道嗎? 要用這裡,這個思考的地方, 要用大腦運轉比較慢的地方。 但不是去思考,而是去感受。 能否請各位配合一下? 在接下來的 14 分鐘或不論剩下多少時間, 請大家試著去感覺。
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.
請盡量不要去思考,去感覺就好。 我覺得放鬆 夾雜著一絲期待。 而剛才我所說,我發現的那東西 就是電影院或劇場。 其實那個效果剛剛在這裡出現過 -- 在 6 秒鐘內由亮漸暗。 那時候,你坐在台下的感覺如何? 是「噢不,電影就要開始了」 還是覺得「好棒喔!快點開始吧」 「真令人期待」? 當然我不是神經學家。 我甚至不確定是不是有種東西叫「制約反射」。 也許這現象算是制約反射吧。 因為在北半球我所接觸過的人裡, 常去電影院的人會有這種感覺。 但我接觸的其他人, 若從沒看過電影或去過劇院 就沒有這種感覺。 所有人都喜歡這樣的效果, 但有些人喜歡的程度比他人更甚。
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?
這就讓我用不同的觀點思考這個問題。 我們並不是在感受,而是以大腦的邊緣系統在思考美 -- 這種想法還不算過時吧。 前面說到的部分就是快感中心, 而也許我們的所見及所感 凌駕了我們的思考。 從感覺器官到這些部份的連線 比這些部分到思考區,也就是皮質的連線還短。 所以前者傳出的訊號可以先到。 那麼我們如何利用這種現象? 還有,反應的程度如何 是取決於我們已知的 還是即將得知的訊息?
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.
這是我所知最美的東西之一。 這是一個塑膠袋。 剛看到它的時候,我不認為這有什麼美感可言。 然後,我才發現, 在第一次接觸後, 發現要是把這個塑膠袋放進一漥髒水 或者細菌叢生 還有各種噁心東西的流水中, 這些髒水 便會透過滲透原理滲進袋中 最後變成純淨的飲用水。 突然間,這個塑膠袋 在我眼中就變得好美。
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?
現在,我要請各位再次 開啟你們感性的那個部分。 大家暫時不要思考, 我想讓各位感受一下。 看看這個,你有什麼感覺呢? 覺得美嗎?很令人興奮嗎? 我在仔細觀察各位的表情。 有些男性聽眾的表情興味索然, 另外還有一些女性觀眾露出有點投入的表情 她們感受到作品透露出的某些訊息。 也許是畫中的天真成分。 現在我就要揭曉這件作品的主題,大家準備好了嗎? 這是某人臨終前所做的最後一件事。 這個小女孩叫 Heidi,才五歲, 就因為癌細胞擴散到脊髓而死亡。 這是她在世時所做的最後一件事, 最後的一個動作。 看看這幅畫。 看看其中透露出的天真,看看其中的美感。 現在各位覺得它美嗎?
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.
現在停一下,各位感受如何? 各位是用什麼在感受? 我用這裡在感受,就在這裡。 而我同時也在注意各位的表情, 因為各位的表情透露出訊息。 那邊甚至有位女士現在已經哭了。 但是你在做什麼呢? 我觀察人們的舉動。 觀察他們的表情。 觀察反應。 因為我必須了解人們對事物的反應。 面對美的 最常見表情之一, 那種面對難以置信美妙之物的反應, 我稱之為「OMG」(天呀!) 這並不是一種喜悅的表情。 也不是「太棒了!」那種喜出望外的樣子。 眉毛變成這樣,眼神失焦, 而下巴都快掉下來了。 這並不是愉悅的表情。 其中還參雜了更複雜的東西。 出現了某種奇怪的現象。 因此,這並不純然只是愉悅 還參雜了許多我們吸收到的外來事物。
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.
身為設計師,我很喜歡「沉痛」這個詞。 這意指事物引起的強烈情感反應, 通常是悲傷的情感反應, 但這只是各種反應的一部分。 它不僅很棒。 它也是美的矛盾衝突和兩難。 我們透過感官接收一切 -- 所有引發好、壞、興奮、恐懼等感受的事物交織在一起 -- 最後成為我們的感官感受, 成為我們對事物的感覺。 很明顯地,感傷成為了 你剛才看見那小女孩畫作時的感覺之一。 另外還有突破現狀,一種恍然大悟的感覺, 就是「我之前都不知道。喔!這是新的知識。」的感覺 也同時包含在其中。 當我們將這些感情成份組合在一起時, 從設計的眼光看來,我感到無比興奮, 因為這些事物,如剛才所說, 在被我們察覺之前、被處理之前, 似乎他們就已經抵達大腦, 並萌發了電化學的效果。
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.
同時令我感興趣的還有: 有沒有可能將 原本的美感和附加的美感給分開來? 我指的是本質上就美的事物, 也就是顯露出純然極致美感的事物, 那種放諸四海皆準的美。 這非常少見,但各位也許舉得出一些例子。 很少有那種每個人 都覺得極美的事物, 在那種沒有事前獲得足夠情感訊息的狀況下。 因此大多數事物的美是屬於外在附加的。 這種美會受事前獲得的訊息 或事後補充的訊息影響, 就像剛剛給各位看的小女孩畫作。
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.
在談美的時候 大家都知道 許多實驗的做法都是探究 人們對臉孔的感受。 而我覺得最無聊說法 就是提出對稱就是美。 事實顯然不是如此。 這是個更有趣的實驗 只露出半張臉給受試者看, 然後請他們依序排出 最美到最不美的部分 最後再給受試者看整張臉。 結果恰好發現, 美感跟對稱無關。 事實上,這個女生的臉很明顯並不對稱, 但兩半邊都美。 只是這兩半邊的臉完全不一樣。
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.
身為設計師,我忍不住一探究竟, 因此我把圖片像這樣拆開, 然後試著了解每個元素, 在這過程中探究感受。 看著眼睛 我感受到快樂和美。 看眉毛則不然。 我對耳洞也沒有感覺。 因此這對我沒什麼多大用處, 但至少讓我得以了解 美的訊號來源。 如我所說,我不是個神經學家, 但要是了解箇中道理,我就能設計出 能快速凌駕 思考部份 引發不受認知干擾的元素,進而令人感到享受的東西。
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 和 Talmud 告訴我們很多次, 我們看見事物的樣子並非依據它的本質,而是我們自己。 在此我要大膽展示這個 我覺得很美的東西給大家看。 就是這輛 F1 MV Agusta。 啊~ 這真是難以用言語形容 它有多麼精緻。 但我知道為什麼自己覺得它很美, 因為它集許多事物之大成。 它包含了許多層次結構。 不僅是物質的層面。 它還包含了很多其他東西。 豐富的經典傳奇、運動精神和細節設計相互共鳴。 我是指,舉個例子來說 -- 當物體穿過氣體時會發生層流現象, 而它將其發揮的淋漓盡致,大家有目共睹。 這讓我的興奮感 自此油然而生。
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.
而這裡是汽機車設計上很重要的秘密 -- 光線反射的處理。 關鍵不是外型好看與否, 而是外型會如何去反射光線。 當你移動時,光線會在車身上閃耀著, 它就變成了極富動態變化的物體, 即便是在靜止狀態 -- 也能透過巧妙設計反射達成這種效果。 在腳踏板上凸出的部份,這對騎士來說 代表下面藏著好東西 -- 在這裡,驅動鍊接受了引擎的動力, 能讓機車達到每小時約 300 英哩的速度。 當我看到和想到這些東西時, 我就會變得特別興奮。
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.
這上面有鈦金屬固定繩。 我無法用言語形容它有多完美。 它可以防止螺帽在高速運轉時從輪胎上脫落。 看我越說越欲罷不能了。 當然,賽車不會裝設腳架, 但這因為是公路用車, 所以有隱藏式腳架,就藏在這個小細縫中。 外表看不出來。 此外,要做出彎曲的散熱器,難度更是難用言語形容。 為什麼要這麼設計? 因為我知道必須讓輪子前凸一點才能造就最佳的氣體力學效果。 這會讓造價更昂貴,但這設計很棒。 最後一項, 品牌尊榮 -- Agusta,Count Agusta 本身就是擁有偉大歷史的傳奇。
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.
而大家看不見的部分則是設計出這款車的天才。 Massimo Temburini 在義大利,人們叫他「水電工」, 也叫他「大師」, 事實上他是一位工程師, 但同時也是技藝高超的藝師和雕塑家。 這是處處皆臻極致的作品,看不見缺點。
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.
遺憾的是,與我同類和像我一樣的凡人 常常需要在美感上妥協。 我們必須要接受妥協。 我總是得遷就供應商還有科技, 甚至還要在同一時間遷就其他許多東西, 在這樣的狀況下就需善用妥協。 現在我們再來看看她。 我已經在這裡做了一些妥協。 把那個部份拉近了 1 公釐。 沒人會注意到,是吧? 大家看得出來我做了什麼嗎? 我把 3 個部分移動了 1 公釐。 漂亮嗎?漂亮。 美嗎?可能沒那麼美了。 但當然只要消費者覺得沒關係 就可以,不是嗎? 再移 1 公釐呢? 沒人會注意到不連續的輪廓還有所作的改變。 美,很容易就這樣不見了, 因為美是個很難成就的效果。 能做到的人極少。 焦點小組無法做到。 就連一個團隊也很難做到。 美需要大腦的中央皮質部位 同時協調觸發所有元素。
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.
這個水瓶很美 -- 有些人知道這個作品 -- 設計師是 Ross Lovegrove。 這幾乎是個本質美感之作。 只要看過水 就能體會這種美感。 其美感在於作品中蘊藏的 清新甘甜之物。 也許我比各位更喜歡這個作品, 因為我知道完成這樣的東西有多困難。 想要做出能夠呈現這樣光反射效果的作品 那是不可思議的困難, 你必須要有正確的工具, 要能做出那些線條又不至於翻倒。 這個作品的製作簡直就像童話故事, 有超多困難需要克服。 最後才能造就出這樣的成品。 這是很好的例子,呈現出簡單物品之美。 而先前讓各位看的摩托車,那是極度複雜的例子。 因為複雜度的不同, 他們表現出來的美也有些微的不同。
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.
我想大家都跟我一樣, 喜歡看芭雷舞者跳舞。 而我們喜歡的部分原因,是因為知道那很難做到。 各位可能還會想到這樣跳舞其實是很痛苦的。 有人看過芭雷舞者的腳趾 脫下硬鞋後的模樣嗎? 在舞者優雅地旋轉跳耀時, 她們的腳卻是很痛苦的。 而對於這點的了解 讓我們以更強更敏銳的感覺 感受眼前事物之美。
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.
這張微秒的投影片弄錯了, 請各位見諒跳過。 我現在要做的,就是回到感受, 我需要提供足夠的這種酵素 來觸發這美的感受,而且越快越好, 馬上吸引你的目光, 你想都不用想,純然因為感受而被吸引。 所以我們現在來做個實驗。 準備好了嗎?我要用極短的時間讓大家看一個東西。 準備好了嗎? 當你第一眼看到圖片的時候,大家覺得這是一輛腳踏車嗎? 其實不是。 告訴我,大家覺得它速度快嗎?我想是的。 覺得設計前衛嗎?我想是的。 這些資訊是各位最先聯想到的。 而且因為各位的大腦有了這些印象, 現在就要開始進行處理。 有趣的是,這輛機車故意設計成這樣。 目的在於讓觀者覺得 這是環保科技,對自身有益, 而且重量輕,更兼具未來感。
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.
這麼做有錯嗎? 在這裡是對的, 因為這真的是十分環保的技術。 但我們也確實是被第一印象制約了。 物品閃過的頭幾秒就影響了我們 -- 這就是我大多數作品的 成敗之處, 在商店貨架上。 這就是輸贏的決戰點。 你可能看見架上擺著 50、100、200 件商品 在逛商場的時候, 但我必須精心設計, 以確保我所做的商品能夠率先吸引你的目光。
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?
最後就要說到我喜歡的知識層面。 我想有些人可能對這個有印象。 奇妙的是, 它會吸引我一看再看的原因是, 這是一件令你討厭或無趣的事情, 摺衣服, 一旦你學會的話 -- 有誰會這麼做?有人試過嗎? 有嗎? 很神奇,對吧? 看看那個動作。大家要再看一次嗎? 沒時間了,計時器說我只剩兩分鐘,所以不能重播。 但大家可以上 YouTube 這個網站, 搜尋「摺衣服」。 那些薪水微薄的年輕人就是這樣折你衣服的。 你可能從不知道。 但大家現在覺得如何? 當你自己動手就會覺得很神奇,而且會想去做, 而當你教別人這麼做時 -- 我想各位大概已經這麼做了 -- 大家會覺得你真聰明。 外面的世界到處都藏著智慧, 這是不花一毛錢的東西, 因為知識是免費的 -- 匯整之後我們又能得到什麼呢?
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.
依據功能決定外型? 有時也許是這樣。 外型就代表著功能。 外型透露出訊息, 它在我們思考之前就先給了我們答案。 因此我不再使用「外型」這類字眼, 身為設計師的我也不再使用「功能」這類詞彙。 現在我追求的是 事物的情感功能。 因為要是在這件事情上做對了, 就能做出美妙,而且能夠延續這種感受的作品。 而各位對這種產品和服務並不陌生, 因為大家都有一些此類產品。 這些東西是各位就算房子失火了也要帶出來的東西。 有情感上的連結 存在於物和人之間 還有在各位還沒來得及思考之前 就萌生迸發電化學的效果。
Thank you very much.
謝謝各位。
(Applause)
(掌聲)