My name is Lovegrove. I only know nine Lovegroves, two of which are my parents. They are first cousins, and you know what happens when, you know --
Zovem se Lovegrove. Znam samo devetoro Lovegrovea od kojih su dvoje moji roditelji. Oni su rođaci iz prvog koljena, a znate što se događa kada, znate --
(Laughter)
(Smijeh)
So there's a terribly weird freaky side to me, which I'm fighting with all the time. So to try and get through today, I've kind of disciplined myself with an 18-minute talk. I was hanging on to have a pee. I thought perhaps if I was hanging on long enough, that would guide me through the 18 minutes.
Tako da postoji užasno čudna strana u meni, s kojom se borim cijelo vrijeme. Kako bih pokušao izvesti ovo danas, nekako sam se disciplinirao 18-minutnim govorom. Odugovlačio sam pri mokrenju. Mislio sam, ako se zadržim dovoljno dugo, to će me provesti kroz 18 minuta.
(Laughter)
(Smijeh)
OK. I am known as Captain Organic and that's a philosophical position as well as an aesthetic position. But today what I'd like to talk to you about is that love of form and how form can touch people's soul and emotion. Not very long ago, not many thousands of years ago, we actually lived in caves, and I don't think we've lost that coding system. We respond so well to form. But I'm interested in creating intelligent form. I'm not interested at all in blobism or any of that superficial rubbish that you see coming out as design. This artificially induced consumerism -- I think it's atrocious.
Dobro. Poznat sam kao Kapetan Organski, a to je ujedno i filozofska i estetska pozicija. Ali danas bih želio govoriti o ljubavi prema obliku i kako oblik može dirnuti duše i emocije ljudi. Ne tako davno, tek prije nekoliko tisuća godina, živjeli smo u pećinama, i mislim da još nismo izgubili taj sustav znakovlja. Mi dobro reagiramo na oblik. Ali zanima me stvaranje inteligentnog oblika. Ne zanima me blob-arhitektura, niti išta od površnog smeća koje se predstavlja kao dizajn. Umjetno izazvan konzumerizam -- mislim da je to užasno.
My world is the world of people like Amory Lovins, Janine Benyus, James Watson. I'm in that world, but I work purely instinctively. I'm not a scientist. I could have been, perhaps, but I work in this world where I trust my instincts. So I am a 21st-century translator of technology into products that we use everyday and relate beautifully and naturally with. And we should be developing things -- we should be developing packaging for ideas which elevate people's perceptions and respect for the things that we dig out of the earth and translate into products for everyday use. So, the water bottle.
Moj svijet je svijet ljudi poput Amoryja Lovinsa, Janine Benyus, Jamesa Watsona. U tom sam svijetu, ali ja radim potpuno instinktivno. Nisam znanstvenik. Možda sam mogao biti, ali radim o ovome svijetu u kojem vjerujem svojim instinktima. Ja sam 21.-stoljetni prevoditelj tehnologije u proizvode koje svakodnevno koristimo, s kojima se lijepo i prirodno povezujemo. I trebali bismo razvijati stvari -- trebali bismo razvijati pakiranja za ideje koje uzdižu ljudsko poimanje i poštovanje prema stvarima koje iskopavamo iz zemlje i prevodimo u proizvode za svakodnevnu upotrebu. Boca za vodu.
I'll begin with this concept of what I call DNA. DNA: Design, Nature, Art. These are the three things that condition my world. Here is a drawing by Leonardo da Vinci, 500 years ago, before photography. It shows how observation, curiosity and instinct work to create amazing art. Industrial design is the art form of the 21st century. People like Leonardo -- there have not been many -- had this amazingly instinctive curiosity. I work from a similar position. I don't want to sound pretentious saying that, but this is my drawing made on a digital pad a couple of years ago -- well into the 21st century, 500 years later. It's my impression of water. Impressionism being the most valuable art form on the planet as we know it: 100 million dollars, easily, for a Monet.
Počet ću s pojmom onoga što ja nazivam DNA. DNA: dizajn, priroda (Nature), umjetnost (Art). To su tri stvari koje uvjetuju moj svijet. Ovo je crtež Leonarda da Vincija, otprije 500 godina, prije fotografije. Pokazuje kako promatranje, znatiželja i instinkt rade da stvore divnu umjetnost. Industrijski dizajn je umjetnička forma 21. stoljeća. Ljudi poput Leonarda -- nije ih bilo puno -- imao je zadivljujuću instinktivnu znatiželju. Ja radim sa sličnog polazišta. Ne želim zvučati nadmeno kada to kažem, ali ovo je moj crtež načinjen na digitalnom uređaju prije par godina -- već duboko u 21. stoljeću, 500 godina kasnije. To je moja impresija vode. Impresionizam je najvrjednija umjetnička forma koja nam je poznata na planetu: Laganih 100 milijuna dolara za Moneta.
I use, now, a whole new process. A few years ago I reinvented my process to keep up with people like Greg Lynn, Thom Mayne, Zaha Hadid, Rem Koolhaas -- all these people that I think are persevering and pioneering with fantastic new ideas of how to create form. This is all created digitally. Here you see the machining, the milling of a block of acrylic. This is what I show to the client to say, "That's what I want to do." At that point, I don't know if that's possible at all. It's a seductor, but I just feel in my bones that that's possible.
Sada koristim potpuno novi proces. Prije nekoliko godina ponovo sam izumio svoj proces da održim korak s Gregom Lynnom, Thomom Mayneom, Zahom Hadid, Remom Koolhaasom, svim tim ljudima za koje mislim da ustraju i predvode sa sjajnim novim idejama o tome kako stvarati oblike. Sve se to radi digitalno. Ovdje vidite strojnu izradu, mljevenje komada akrila. To pokažem klijentu da bih rekao, "Ovo želim napraviti." U tom trenutku, ne znam je li to uopće moguće. To je zavodnički, ali jednostavno osjetim duboko u sebi da je to moguće.
So we go, we look at the tooling. We look at how that is produced. These are the invisible things that you never see in your life. This is the background noise of industrial design. That is like an Anish Kapoor flowing through a Richard Serra. It is more valuable than the product in my eyes. I don't have one. When I do make some money, I'll have one machined for myself. This is the final product. When they sent it to me, I thought I'd failed. It felt like nothing. It has to feel like nothing. It was when I put the water in that I realized that I'd put a skin on water itself. It's an icon of water itself, and it elevates people's perception of contemporary design. Each bottle is different, meaning the water level will give you a different shape. It's mass individualism from a single product. It fits the hand. It fits arthritic hands. It fits children's hands. It makes the product strong, the tessellation. It's a millefiori of ideas. In the future, they will look like that, because we need to move away from those type of polymers and use that for medical equipment and more important things, perhaps, in life. Biopolymers, these new ideas for materials, will come into play in probably a decade. It doesn't look as cool, does it? But I can live up to that. I don't have a problem with that. I design for that condition, biopolymers. It's the future.
Pa krenemo, pogledamo alate. Pogledamo kako se to proizvodi. Ovo su nevidljive stvari koje nikada u životu ne vidite. To je pozadinska buka industrijskog dizajna. To je kao da Anish Kapoor protječe kroz Richarda Serra. To je za mene vrjednije od proizvoda. Ja nemam proizvod. Kada i zaradim neki novac, tada sam izradim proizvod za sebe. Ovo je konačan proizvod. Kada su mi ga poslali, mislio sam da sam promašio. Činilo se poput ničega. Mora se činiti poput ničega. Tek kada sam ulio vodu, shvatio sam da sam vodi dao kožu. To je simbol same vode i uzdiže ljudsko poimanje suvremenog dizajna. Svaka boca je drugačija, što znači da će vam razina vode dati drugačiji oblik. To je masovni individualizam na osnovi jednog proizvoda. Pristaje u ruku. Pristaje u artritične ruke. Pristaje u dječje ruke. Čini proizvod čvrstim, mozaična podjela ravnine. To je millefiori (tehnika obrade stakla) ideja. U budućnosti, one će izgledati ovako, jer se trebamo odmaknuti od takve vrste polimera i koristiti ih za medicinsku opremu i možda za još važnije stvari u životu. Biopolimeri, te nove ideje za materijale, doći će u upotrebu vjerojatno za desetljeće. Ne izgleda tako sjajno, zar ne? Ali mogu živjeti s tim. Ja s tim nemam problema. Ja dizajniram za takve uvjete, biopolimere. To je budućnost.
I took this video in Cape Town last year. This is the freaky side coming out. I have this special interest in things like this, which blow my mind. I don't know whether to, you know, drop to my knees, cry; I don't know what I think. But I just know that nature -- nature improves with ever-greater purpose that which once existed, and that strangeness is a consequence of innovative thinking. When I look at these things, they look pretty normal to me. But these things evolved over many years, and what we're trying to do -- I get three weeks to design a telephone. How the hell do I do that, when you get these things that take hundreds of millions of years to evolve? How do you condense that?
Ovo sam snimio u Cape Townu prošle godine. Ovdje se javlja moja čudna strana. Posebno me zanimaju ovakve stvari, koje me šokiraju. Ne znam bih li, znate, pao na koljena, plakao; ne znam što da mislim. Ali samo znam da priroda -- priroda poboljšava s nekom višom svrhom to što je jednom postojalo, i ta neobičnost je posljedica inovativnog razmišljanja. Kada pogledam ove stvari, meni izgledaju prilično normalno. Ali one su evoluirale tijekom puno godina, a mi pokušavamo učiniti -- dobijem tri tjedna da dizajniram telefon. Kako, zaboga, da to učinim, ako imate ovakve stvari kojima je trebalo stotine milijune godina da se razviju? Kako to zgusnuti?
It comes back to instinct. I'm not talking about designing telephones that look like that and I'm not looking at designing architecture like that. I'm just interested in natural growth patterns and the beautiful forms that only nature really creates. How that flows through me and how that comes out is what I'm trying to understand.
Vraćamo se na instinkt. Ne govorim o dizajniranju telefona koji ovako izgledaju i ne gledam na dizajn arhitekture tako. Samo me zanimaju šablone prirodnog rasta i prekrasni oblici koje jedino priroda zaista može stvoriti. Kako se to kreće kroz mene i što se na kraju dobije, to pokušavam razumjeti.
This is a scan through the human forearm. It's then blown up through rapid prototyping to reveal its cellular structure. I have these in my office. My office is a mixture of the Natural History Museum and a NASA space lab. It's a weird, kind of freaky place. This is one of my specimens.
Ovo je snimka ljudske ruke. Zatim je raznesena brzinskim prototipiranjem kako bi otkrila njezinu staničnu strukturu. Imam ih u uredu. Moj ured je mješavina muzeja prirodne povijesti i NASA-inog svemirskog laboratorija. To je čudno, pomalo strašno mjesto. Ovo je jedan od mojih primjeraka.
This is made -- bone is made from a mixture of inorganic minerals and polymers. I studied cooking in school for four years, and in that experience, which was called "domestic science," it was a bit of a cheap trick for me to try and get a science qualification.
Ovo je načinjeno -- kost je načinjena od mješavine anorganskih minerala i polimera. Učio sam kuhati u školi četiri godine, i kroz to iskustvo, zvano "znanost domaćinstva", bilo je pomalo prevrtljivo od mene pokušati steći znanstveno obrazovanje.
(Laughter)
(Smijeh)
Actually, I put marijuana in everything I cooked --
Zapravo sam stavljao marihuanu u sve što bih kuhao.
(Laughter)
(Smijeh)
And I had access to all the best girls. It was fabulous. All the guys in the rugby team couldn't understand. Anyway -- this is a meringue. This is another sample I have. A meringue is made exactly the same way, in my estimation, as a bone. It's made from polysaccharides and proteins. If you pour water on that, it dissolves. Could we be manufacturing from foodstuffs in the future? Not a bad idea. I don't know. I need to talk to Janine and a few other people about that, but I believe instinctively that that meringue can become something, a car -- I don't know.
I imao sam pristup najboljim djevojkama. Bilo je fantastično. Nitko od tipova iz ragbi momčadi nije to mogao shvatiti. No -- ovo je meringue krema. Još jedan uzorak koji imam. Meringue krema se pravi na sasvim isti način, po mojoj procjeni, kao kost. Pravi se od polisaharida i bjelančevina. Ako prelijete vodu po njoj, rastapa se. Možemo li u budućnosti proizvoditi od prehrambenih tvari? Nije loša ideja. Ne znam. Moram razgovarati sa Janine i još nekim ljudima o tome, ali instinktivno vjerujem da bi meringue krema mogla postati nešto, automobil -- ne znam.
I'm also interested in growth patterns: the unbridled way that nature grows things so you're not restricted by form at all. These interrelated forms, they do inspire everything I do, although I might end up making something incredibly simple. This is a detail of a chair that I've designed in magnesium. It shows this interlocution of elements and the beauty of, kind of, engineering and biological thinking, shown pretty much as a bone structure. Any one of those elements you could sort of hang on the wall as some kind of art object.
Također me zanimaju šablone rasta: nesputan način na koji stvari rastu u prirodi tako da uopće niste ograničeni oblikom. Ti međusobno povezani oblici, oni nadahnjuju sve što radim, iako možda na kraju načinim nešto nevjerojatno jednostavno. Ovo je detalj stolice koju sam dizajnirao u magneziju. Pokazuje međukomunikaciju elemenata i ljepotu, pa recimo, inženjeringa i biološkog razmišljanja, kakav možemo vidjeti u građi kostiju. Svaki od ovih predmeta mogli biste objesiti na zid kao nekakav umjetnički izložak.
It's the world's first chair made in magnesium. It cost 1.7 million dollars to develop. It's called "Go," by Bernhardt, USA. It went into Time magazine in 2001 as the new language of the 21st century. Boy. For somebody growing up in Wales in a little village, that's enough. It shows how you make one holistic form, like the car industry, and then you break up what you need. This is an absolutely beautiful way of working. It's a godly way of working. It's organic and it's essential. It's an absolutely fat-free design, and when you look at it, you see human beings.
To je prva stolica na svijetu načinjena od magnezija. Koštalo je 1,7 milijuna dolara da je se razvije. Zove se "Go", od Bernhardta, u SAD-u. Ušla je u časopis Time 2001. godine kao novi jezik 21. stoljeća. Čovječe. Za nekoga tko je odrastao u malom selu u Walesu, to je dovoljno. Pokazuje kako možete načiniti jedan cjelovit oblik, kao autoindustrija, i onda razlomite u ono što vam treba. To je apsolutno prekrasan način rada. To je božanstven način rada. Organski je i temeljan. To je apsolutno nemastan dizajn, i kada ga pogledate, vidite ljudska bića.
When that moves into polymers, you can change the elasticity, the fluidity of the form. This is an idea for a gas-injected, one-piece polymer chair. What nature does is it drills holes in things. It liberates form. It takes away anything extraneous. That's what I do. I make organic things which are essential. And they look funky, too -- but I don't set out to make funky things because I think that's an absolute disgrace.
Kada se to prebaci u polimere, možete promijeniti rastezljivost, protočnost oblika. Ovo je ideja plinski ubrizgane, polimerske stolice iz jednog komada. Priroda buši rupe u stvarima. Oslobađa oblik. Oduzima sve suvišno. To ja činim. Izrađujem organske stvari koje su temeljne. Izgledaju čudno -- ali nije mi namjera raditi čudne stvari jer mislim da je to sramotno.
I set out to look at natural forms. If you took the idea of fractal technology further, take a membrane, shrinking it down constantly like nature does -- that could be a seat for a chair. It could be a sole for a sports shoe. It could be a car blending into seats. Wow. Let's go for it. That's the kind of stuff. This is what exists in nature. Observation now allows us to bring that natural process into the design process every day. That's what I do.
Moja namjera je promatrati prirodne oblike. Ako odvedemo ideju fraktalne tehnologije na višu razinu, uzmimo membranu, neprestano je smanjujući kao što priroda čini, to bi moglo biti sjedalo stolice. Moglo bi biti stopalo sportske obuće. Mogao bi biti auto koji se pretvara u sjedala. Wow. Učinimo to. Takav tip stvari. To postoji u prirodi. Promatranje nam sada dopušta da unesemo taj prirodni proces u dizajnerski proces svakoga dana. To ja činim.
This is a show that's currently on in Tokyo. It's called "Superliquidity." It's my sculptural investigation. It's like 21st-century Henry Moore. When you see a Henry Moore, still, your hair stands up. There's some amazing spiritual connect. If he was a car designer, phew, we'd all be driving one. In his day, he was the highest taxpayer in Britain.
Ovo je izložba trenutno u Tokiju. Zove se "Superlikvidnost". To je moje skulpturno istraživanje. Ovo je poput Henryja Moorea 21. stoljeća. Kada vidite Henryja Moorea, još uvijek vam se digne kosa na glavi. Postoji zapanjujuća duhovna veza. Da je dizajnirao aute, pa, svi bismo ih vozili. U svoje doba, plaćao je najveći porez u Britaniji.
That is the power of organic design. It contributes immensely to our -- sense of being, our sense of relationships with things, our sensuality and, you know, the sort of -- even the sort of socio-erotic side, which is very important. This is my artwork. This is all my process. These actually are sold as artwork. They're very big prints. But this is how I get to that object.
To je snaga organskog dizajna. Izuzetno doprinosi našem -- osjećaju postojanja, osjećaju odnosa sa stvarima, našoj senzualnosti, znate, kao -- čak i našoj društveno-erotskoj strani, što je vrlo važno. Ovo je moje umjetničko djelo. To je sav moj proces. Ovo se zapravo prodaje kao umjetnost. To su vrlo veliki tiskani primjerci. Ali ovako dolazim do tog predmeta.
Ironically, that object was made by the Killarney process, which is a brand-new process here for the 21st century, and I can hear Greg Lynn laughing his socks off as I say that. I'll tell you about that later.
Ironično, taj predmet načinjen je Killarney procesom, što je sasvim novi proces za 21. stoljeće, i mogu čuti kako Greg Lynn umire od smijeha dok to govorim. Ispričat ću vam o tome poslije.
When I look into these data images, I see new things. It's self-inspired. Diatomic structures, radiolaria, the things that we couldn't see but we can do now -- these, again, are cored out. They're made virtually from nothing. They're made from silica. Why not structures from cars like that? Coral, all these natural forces, take away what they don't need and they deliver maximum beauty. We need to be in that realm. I want to do stuff like that.
Kada pogledam ove slike podataka, vidim nove stvari. To je samonadahnjujuće. Dvoatomni oblici, radiolaria, stvari koje nismo mogli vidjeti ali sada možemo -- i one su, opet, svedene na srž. Načinjene su gotovo ni iz čega. Načinjene su od silicijevog dioksida. Zašto nemamo ovakve oblike za aute? Koralji, sve te prirodne sile, odbacuju sve što im ne treba i nude maksimalnu ljepotu. Moramo biti u tom carstvu. Želim raditi takve stvari.
This is a new chair which should come on the market in September. It's for a company called Moroso in Italy. It's a gas-injected polymer chair. Those holes you see there are very filtered-down, watered-down versions of the extremity of the diatomic structures. It goes with the flow of the polymer and you'll see -- there's an image coming up right now that shows the full thing. It's great to have companies in Italy who support this way of dreaming. If you see the shadows that come through that, they're actually probably more important than the product, but it's the minimum it takes. The coring out of the back lets you breathe. It takes away any material you don't need and it actually garners flexure too.
Ovo je nova stolica koja bi trebala izići na tržište u rujnu. Za tvrtku Moroso u Italiji. To je plinski ubrizgana polimerna stolica. Rupe koje ovdje vidite su vrlo isfiltrirane, razvodnjene verzije ekstremnosti dvoatomskih oblika. Teku uz oblik polimera i vidjet ćete -- sad nailazi slika koja pokazuje cijelu stvar. Sjajno je imati tvrtke u Italiji koje podržavaju ovakav način sanjanja. Ako vidite da sjene prolaze kroz ovo, one su vjerojatno važnije od proizvoda, ali to je minimum koji nam treba. Smanjivanje naslona dopušta vam disanje. Odstranjuje se sav materijal koji ne trebate i zapravo potiče savitljivost.
I was going to break into a dance then.
Poželio sam zaplesati tada.
This is some current work I'm doing. I'm looking at single-surface structures and how they stretch and flow. It's based on furniture typologies, but that's not the end motivation. It's made from aluminum ... as opposed to aluminium, and it's grown. It's grown in my mind, and then it's grown in terms of the whole process that I go through.
Ovo je nešto što trenutno radim. Promatram jednoplošne strukture te kako se šire i teku. Ovo se zasniva na tipologijama pokućstva, ali to nije krajnja motivacija. Ovo je načinjeno od aluminija... za razliku od aluminijuma, i naraslo je. Naraslo je u mome umu, a zatim je naraslo u smislu cijelog procesa kroz koji prolazim.
This is two weeks ago in CCP in Coventry, who build parts for Bentleys and so on. It's being built as we speak and it will be on show in Phillips next year in New York. I have a big show with Phillips Auctioneers. When I see these animations, oh Jesus, I'm blown away. This is what goes on in my studio everyday. I walk -- I'm traveling. I come back. Some guy's got that on a computer -- there's this like, oh my goodness. So I try to create this energy of invention every day in my studio. This kind of effervescent -- fully charged sense of soup that delivers ideas.
Ovo je prije dva tjedna u CCP-u Coventry, koji izrađuju dijelove za Bentleye itd. Trenutno se izrađuje i bit će izloženo u Phillipsu nagodinu u New Yorku. Imam veliku izložbu u suradnji s Phillips Auctioneers. Kada pogledam ove animacije... Bože, zaprepašten sam. To se događa svakoga dana u mom studiju. Hodam -- putujem. Vratim se. Neki tip ima to na računalu -- i tu je to, zaboga. Pokušavam stvoriti tu energiju izuma svakog dana u svome studiju. Tu vrstu prštavog -- nabijenog osjećaja juhe koja isporučuje ideje.
Single-surface products. Furniture's a good one. How you grow legs out of a surface. I would love to build this one day and perhaps I'd like to build it also out of flour, sugar, polymer, wood chips -- I don't know, human hair. I don't know. I'd love a go at that. I don't know. If I just got some time. That's the weird side coming out again. A lot of companies don't understand that.
Jednoplošni proizvodi. Pokućstvo je dobar primjer. Kako da iz plohe izrastu noge. Volio bih jednom ovo sagraditi i možda bih volio sagraditi to i od brašna, šećera, polimera, komadića drva, ne znam, od ljudske kose. Ne znam. Volio bih probati. Ne znam. Kad bih samo imao vremena. Sada ponovno izlazi čudna strana. Mnoge tvrtke to ne razumiju.
Three weeks ago I was with Sony in Tokyo. They said, "Give us the dream. What is our dream? How do we beat Apple?" I said, "You don't copy Apple, that's for sure. You get into biopolymers." They looked straight through me. What a waste. Anyway.
Prije tri tjedna bio sam u Sonyju u Tokiju. Rekli su: "Ponudi nam san. Koji je naš san? Kako da pobijedimo Apple?" Rekao sam, "Zasigurno ne kopiranjem Applea. Morate se posvetiti biopolimerima." Blijedo su me pogledali. Kakva šteta. No.
(Laughter)
(Smijeh)
No, it's true. Fuck them. You know, I mean --
Ali istina je. Tko ih šljivi. Znate, mislim --
(Laughter)
(Smijeh)
I'm delivering; they're not taking. I've had this image 20 years. I've had this image of a water droplet for 20 years, sitting on a hot bed. That is an image of a car for me. That's the car of the future. It's a water droplet. I've been banging on about this like I can't believe. Cars are all wrong.
Ja isporučujem; oni ne preuzimaju. Imam ovu sliku 20 godina. 20 godina imam tu sliku kapljice vode, smještene na vrućoj podlozi. Za mene je to slika automobila. To je automobil budućnosti. Kapljica vode. Toliko sam se bavio time da ni sam ne mogu vjerovati. Auti su potpuno pogrešni.
I'm going to show you something a bit weird now. They laughed everywhere over the world I showed this. The only place that didn't laugh was Moscow. Cars are made from 30,000 components. How ridiculous is that? Couldn't you make that from 300? It's got a vacuum-formed, carbon-nylon pan. Everything's holistically integrated. It opens and closes like a bread bin. There is no engine. There's a solar panel on the back and there are batteries in the wheels; they're fitted like Formula 1. You take them off your wall, you plug them in. Off you go. A three-wheeled car: slow, feminine, transparent, so you can see the people in there. You drive different. You see that thing. You do. You do. And not anesthetized, separated from life. There's a hole at the front and there's a reason for that. It's a city car. You drive along. You get out. You drive on to a proboscis. You get out. It lifts you up. It presents the solar panel to the sun, and at night, it's a street lamp.
Sada ću vam pokazati nešto pomalo čudno. Smijali su se gdje god na svijetu sam to pokazao. Jedino mjesto gdje se nisu smijali bila je Moskva. Auti se sastoje od 30 tisuća dijelova. Nije li to suludo? Zar ih ne bismo mogli napraviti od 300 dijelova? Ima vakuumski oblikovani pokrov od karbonskog najlona. Sve je uklopljeno u cjelinu. Otvara se i zatvara poput posude za kruh. Nema motora. Odostraga je solarni panel, a baterije su u kotačima; njih se montira kao kod Formule 1. Skinete ih sa zida, pričvrstite ih. Gotovo. Trokotačni automobil: spor, ženskast, proziran, pa možete vidjeti ljude unutra. Drugačije vozite. Vidite tu stvar. Vidite. Vidite. Nije anestetiziran, odvojen od života. Postoji otvor naprijed i postoji razlog za to. To je gradski automobil. Vozite. Izađete. Dovezete do rampe. Izađete. Podigne vas. Prinosi solarni panel suncu, a noću služi kao ulična svjetiljka.
(Applause)
(Pljesak)
That's what happens if you get inspired by the street lamp first, and do the car second. I can see these bubbles with these hydrogen packages, floating around on the ground, driven by AI. When I showed this in South Africa, everybody afterwards was going, "Hey, car on a stick. Like this." Can you imagine? A car on a stick.
To se dogodi kada vas najprije nadahne ulična svjetiljka, a zatim načinite automobil. Mogu vidjeti te balone s tim spremnicima vodika, kako lebde okolo nad zemljom, a vozi ih umjetna inteligencija. Kada sam pokazao ovo u Južnoj Africi, svi su poslije govorili, "Hej, auto na štapu. Sviđa mi se." Možete li zamisliti? Auto na štapu.
(Laughter)
(Smijeh)
If you put it next to contemporary architecture, it feels totally natural to me. And that's what I do with my furniture. I'm not putting Charles Eames' furniture in buildings anymore. I'm trying to build furniture which fits architecture. I'm trying to build transportation systems. I work on aircraft for Airbus, I do all this sort of stuff trying to force these natural, inspired-by-nature dreams home.
Ako ga postavite uz suvremenu arhitekturu, čini mi se sasvim prirodan. I to radim sa svojim pokućstvom. Više ne stavljam pokućstvo Charlesa Eamesa u zgrade. Pokušavam sagraditi pokućstvo koje ide uz arhitekturu. Pokušavam sagraditi sustave prijevoza. Radim na letjelici za Airbus, radim različite stvari pokušavajući ostvariti te snove nadahnute prirodom.
I'm going to finish on two things. This is the stereolithography of a staircase. It's a little bit of a dedication to James, James Watson. I built this thing for my studio. It cost me 250,000 dollars to build this. Most people go and buy the Aston Martin. I built this. This is the data that goes with that. Incredibly complex. Took about two years, because I'm looking for fat-free design. Lean, efficient things. Healthy products. This is built by composites. It's a single element which rotates around to create a holistic element, and this is a carbon-fiber handrail which is only supported in two places. Modern materials allow us to do modern things.
Završit ću s dvije stvari. Ovo je stereolitografija stubišta. Pomalo je to posveta Jamesu Watsonu. Sagradio sam ovo za svoj studio. Stajalo je 250 tisuća dolara. Većina ljudi bi kupila Aston Martin. Ja sam sagradio ovo. Ovo su podaci koji idu uz to. Nevjerojatno zamršeno. Trajalo je oko dvije godine, jer tražim nemastan dizajn. Vitke, učinkovite stvari. Zdrave proizvode. Ovo je sagrađeno iz kompozita. To je jedan element koji se vrti kako bi stvorio cjelinu, a ovo je rukohvat od karbonskih vlakana koji je pričvršćen na samo dva mjesta. Suvremeni materijali nam omogućuju da činimo suvremene stvari.
This is a shot in the studio. This is how it looks pretty much every day. You wouldn't want to have a fear of heights coming down it. There is virtually no handrail. It doesn't pass any standards.
Ovo je snimka u studiju. Ovako izgleda svaki dan. Ne biste željeli imati strah od visina dok silazite. Zapravo nema rukohvata. Ne udovoljava nijednom standardu.
(Laughter)
(Smijeh)
Who cares?
Koga briga?
(Laughter)
(Smijeh)
And it has an internal handrail which gives it its strength. It's this holistic integration. That's my studio. It's subterranean. It's in Notting Hill, next to all the crap -- the prostitutes and all that stuff. It's next to David Hockney's original studio. It has a lighting system that changes throughout the day. My guys go out for lunch. The door's open. They come back in, because it's normally raining and they prefer to stay in.
Ima unutarnji rukohvat koji mu daje potporu. To je cjelovita integracija. Ovo je moj studio. Nalazi se pod zemljom. Nalazi se u Notting Hillu, pored svog smeća -- prostitutki i svega toga. Nalazi se pored prvotnog studija Davida Hockneya. Ima sustav rasvjete koja se mijenja tijekom dana. Moja ekipa ode na ručak. Vrata su otvorena. Oni se vrate, jer, naravno, pada kiša i radije bi ostali unutra.
This is my studio. Elephant skull from Oxford University, 1988. I bought that last year. They're very difficult to find. If anybody's got a whale skeleton they want to sell me, I'll put it in the studio.
Ovo je moj studio. Lubanja slona sa Sveučilišta Oxford iz 1988. godine. Kupio sam je lani. Jako ih je teško naći. Ako tko ima kostur kita koji bi mi htjeli prodati, stavit ću ga u studio.
So I'm just going to interject a little bit with some of the things that you'll see in the video. It's a homemade video, made it myself at three o'clock in the morning just to show you how my real world is. You never see that. You never see architects or designers showing you their real world.
Samo pokušavam napraviti malu stanku nekima od stvari koje ćete vidjeti u snimci. To je kućna snimka, sȃm sam je snimio u 3 ujutro, samo da vam pokažem kakav je zaista moj svijet. To nikad ne vidite. Nikada ne vidite da vam arhitekti ili dizajneri pokazuju svoj pravi svijet.
This is called a "Plasnet." It's a new bio-polycarbonate chair I'm doing in Italy.
Ovo je "Plaznet". To je nova stolica od bioloških polikarbonata koju gradim u Italiji.
World's first bamboo bike with folding handlebars. We should all be riding one of these. As China buys all these crappy cars, we should be riding things like this. Counterbalance.
Prvi bicikl od bambusa na svijetu sa sklopivim upravljačem. Svi bismo ih trebali voziti. Dok Kina kupuje sve te loše automobile, mi bismo trebali voziti ovakve stvari. Kontraravnoteža.
Like I say, it's a cross between Natural History Museum and a NASA laboratory. It's full of prototypes and objects. It's self-inspirational, again. I mean, the rare times when I'm there, I do enjoy it. And I get lots and lots of kids coming. I'm a contaminator for all those children of investment bankers -- wankers. Sorry.
Kako rekoh, to je križanac Muzeja prirodne povijesti i laboratorija NASA-e. Pun je prototipa i predmeta. Opet, samonadahnjujući je. U rijetkim trenucima kada sam ondje, zaista uživam. I dolazi mi puno djece. Ja zagađujem umove sve te djece investicijskih bankara - ološa. Oprostite.
(Laughter)
(Smijeh)
That's a solar seed. It's a concept for new architecture. That thing on the top is the world's first solar-powered garden lamp -- the first produced. Giles Revell should be talking here today -- amazing photography of things you can't see.
Ovo je solarno sjeme. To je koncept nove arhitekture. Stvar na vrhu je prva solarna vrtna svjetiljka na svijetu -- prva ikad proizvedena. Giles Revell trebao bi govoriti ovdje -- sjajne fotografije stvari koje ne možemo vidjeti.
The first sculptural model I made for that thing in Tokyo.
Prvi skulpturni model koji sam izradio za onu stvar u Tokiju.
Lots of stuff. There's a little leaf chair -- that golden looking thing is called "Leaf." It's made from Kevlar.
Puno stvari. Tu je mala stolica list -- ta stvar koja izgleda zlatno zove se "List". Načinjena je od Kevlara.
On the wall is my book called "Supernatural," which allows me to remember what I've done, because I forget.
Na zidovima je moja knjiga "Natprirodno", što mi omogućuje da se sjetim što sam radio, jer to zaboravim.
There's an aerated brick I did in Limoges last year, in Concepts for New Ceramics in Architecture.
Tu je cigla ispunjena zrakom koju sam načinio u Limogesu lani, u Konceptima za novu keramiku u arhitekturi.
Gernot Oberfell, working at three o'clock in the morning -- and I don't pay overtime. Overtime is the passion of design, so join the club or don't.
Gernot Oberfell, kako radi u tri ujutro -- a ja ne plaćam prekovremene sate. Prekovremeni sati su strast za dizajnom pa se pridružite ili nemojte.
(Laughter)
(Smijeh)
No, it's true. People like Tom and Greg -- we're traveling like you can't -- we fit it all in. I don't know how we do it.
Ali doista je tako. Ljudi poput Toma i Grega -- putujemo toliko da ne možete ni -- sve nekako uklopimo. Nemam pojma kako to izvodimo.
Next week I'm at Electrolux in Sweden, then I'm in Beijing on Friday. You work that one out. And when I see Ed's photographs, I think, why the hell am I going to China? It's true. It's true. Because there's a soul in this whole thing. We need to have a new instinct for the 21st century. We need to combine all this stuff. If all the people who were talking over this period worked on a car together, it would be a joy, absolute joy.
Sljedeći tjedan sam u Electroluxu u Švedskoj, u petak u Pekingu. Pokušajte to shvatiti. A kada vidim Edove fotografije, mislim, dovraga, zašto idem u Kinu? Istina. Jer postoji duša u ovome svemu. Potreban nam je novi instinkt za 21. stoljeće. Moramo spojiti sve ove stvari. Kada bi svi ljudi koji raspravljaju o ovom dobu radili zajedno na automobilu, bila bi to radost, čista radost.
So there's a new X-light system I'm doing in Japan.
Ovo je novi sustav X-rasvjete na kojem radim u Japanu.
There's Tuareg shoes from North Africa. There's a Kifwebe mask.
Ovo su tuareške cipele iz Sjeverne Afrike. Ovo je Kifwebe maska.
These are my sculptures.
Ovo su moje skulpture.
A copper jelly mold.
Brončani kalup za kuglof.
(Laughter)
(Smijeh)
It sounds like some quiz show or something, doesn't it? So, it's going to end. Thank you, James, for your great inspiration.
Zvuči kao nekakav kviz, zar ne? Završit će sad. Hvala ti, Jamese, na velikom nadahnuću.
Thank you very much.
Hvala vam puno.
(Applause)
(Pljesak)