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 --
Numele meu e Lovegrove. Cunosc doar noua Lovegrove, doi dintre ei sunt parintii mei. Ei sunt verisori primari, si stiti ce se intampla cand, stiti voi --
(Laughter)
asa ca am o latura teribil de ciudata,
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.
cu care ma lupt tot timpul. Asa ca, pentru a trece cu bine ziua de astazi, am incercat sa ma disciplinez cu un discurs de 18 minute. Ma abtineam sa urinez. Ma gandeam ca daca ma tin destul de mult, o sa fiu concentrat la cele 18 minute.
(Laughter)
(Rasete)
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.
Ok. Mi se spune Capitan Organic, ceea ce e o pozitie filozofica, dar si una estetica. Dar astazi as vrea sa va vorbesc despre iubirea formei si cum poate forma sa atinga sufletele si emotiile oamenilor. Nu cu mult timp in urma, nu cu multe mii de ani in urma, chiar traiam in pesteri, si nu cred ca ne-am pierdut acel sistem de codare. Raspundem atat de bine la forma, dar ce ma intereseaza pe mine este crearea formei inteligente. Nu ma intereseaza deloc blobism-ul sau orice alt gunoi superficial caruia i se da numele de design. Aceste -- acest consumerism indus artificial -- cred ca este o atrocitate.
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.
Lumea mea e lumea unor oameni ca Amory Lovins, Janine Benyus, James Watson. Sunt in acea lumea, dar lucrez pur si simplu din instinct. Nu sunt un om de stiinta. Poate ca as fi putut sa fiu unul, dar lucrez in aceasta lume unde am incredere in instinctele mele. Deci sunt un traducator al secolului 21 care traduce tehnologia in produse pe care le folosim zi de zi si cu care relationam in mod natural si frumos. Si ar trebui sa dezvoltam lucruri -- ar trebui sa dezvoltam ambalajul pentru idei care amplifica perceptiile oamenilor si respectul acestora pentru lucrurile pe care le scoatem din pamant si le transformam in produse folosite zilnic. Deci, sticla de apa.
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.
O sa incep cu acest concept pe care il numesc DNA. DNA: design, natura, arta. Acestea sunt cele trei lucruri care imi conditioneaza lumea. Iata un desen de Leonardo da Vinci, facut cu 500 de ani in urma, inainte de a se inventa fotografia. Ne arata cum observarea, curiozitatea si instinctul lucreaza impreuna pentru a crea o arta uimitoare. Designul industrial este forma de arta a secolului 21. Oamenii ca Leonardo -- si nu au fost multi -- aveau aceasta curiozitate incredibil de instinctiva. Eu lucrez intr-o pozitie similara. Nu vreau sa sune pretentios, dar acesta este desenul meu facut pe o platforma digitala acum cativa ani -- in secolul 21, 500 mai tarziu. Este impresia mea despre apa. Impresionismul fiind una dintre cele mai valoroase forme de arte de pe planeta, asa cum o stim: un tablou de Monet costa, pe putin, 100 de milioane de dolari.
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.
Acum, folosesc un proces cu totul nou. In urma cu cativa ani, am reinventat procesul pentru a tine pasul cu oameni precum Greg Lynn, Tom Main, Zaha Hadid, Rem Koolhas -- despre care eu cred ca persevereaza si inoveaza cu noi idei fantastice si noi metode de a crea forma. Aceasta este o creatie complet digitala. Aici vedeti prelucrarea, frezarea unui bloc de acrilic. Este ceea ce arat clientului, spune "Asta vreau sa fac". In acel moment, nu stiu daca este posibil. Este seducator, dar pur si simplu simt ca acest lucru este posibil.
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.
Asa ca mergem. Ne uitam la instrumente. Ne uitam la felul in care este produs. Sunt lucrurile invizibile pe care nu le vezi nicioadata in viata ta. Acesta este sunetul de fundal al design-ului industrial. Este ca o sculptura de Anish Kapoor curgand printr-o sculptura de Richard Serra. Este mai valoros decat produsul, in ochii mei. Eu nu am unul. Cand o sa fac ceva bani, o sa confectionez unul si pentru mine. Acesta este produsul final. Cand mi l-au trimis, am crezut ca am esuat. Nu inspira niciun sentiment. Asa si trebuie. Abia atunci cand am turnat apa am inteles ca e ca o piele pentru apa in sine. Este un simbol al apei, si mareste perceptia oamenilor in ceea ce priveste design-ul contemporan. Fiecare sticla este diferita, ceea ce inseamna ca nivelul apei va rezulta intr-o forma diferita. Este individualism de masa redat de un singur obiect. Incape in mana. Incape in mainile bolnavilor de artrita. Incape in mainile copiilor. Intareste produsul, mozaicarea. Este un millefiori de idei. In viitor vor arata asa, pentru ca trebuie sa ne indepartam de acel tip de polimeri si sa-i folosim pentru echipmanet medical sau alte lucruri mai importante, poate, din viata. Biopolimerii, aceste noi idei de materiale, vor intra in joc intr-un deceniu, probabil. Nu arata la fel de interesant, nu-i asa? Dar pot sa ma ridic la nivelul asteptarilor. Nu am o problema cu asta. Creez design pentru aceste conditii, biopolimerii. Acesta este viitorul.
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?
Am filmat acest clip in Cape Town, anul trecut. Aceasta este partea ciudata care iese la iveala. Ma intereseaza in mod special aceste lucruri care ma coplesesc. Nu stiu daca sa cad, stiti voi, in genunchi si sa plang. Nu stiu ce sa cred, dar stiu ca natura imbunatateste dand un scop mai important acelui lucru care exista deja, si ca ciudatenia este o consecinta a gandirii inovatoare. Cand ma uit la aceste lucruri, ele par normale pentru mine. Dar ele au evoluat in decursul a mai multi ani, iar ce incercam sa facem noi acum -- primesc un termen de 3 saptamani pentru a veni cu design-ul unui telefon. Cum sa fac un telefon in trei saptamani, cand aceste lucruri au nevoie de sute de milioane de ani pentru a evolua? Cum restrangi acest timp?
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.
Are legatura cu instinctul. Nu vorbesc despre telefoane care arata asa, si nu ma uit la design-uri arhitecturale care arata asa. Ma intereseaza numai structurile cresterii naturale, si formele frumoase pe care numai natura le poate crea. Cum curge asta prin mine si care este rezultatul este ceea ce incerc sa inteleg.
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.
Aceasta este o scanare a antebratului uman. Este apoi amplificat prin prototipare rapida, pentru a dezvalui structura celulara. Am aceste desene in birou. Biroul meu este un amestec intre Muzeul de Istorie Nationala si un laborator NASA. Este un loc nefiresc, putin ciudat. Acesta este unul din exemplarele facute de mine.
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.
Este facut -- osul este facut dintr-un amestec de minerale anorganice si polimeri. Am studiat arta culinara in scoala timp de patru ani si, in acea experienta, care se numea stiinta domestica, un truc ieftin pentru a obtine o calificare stiintifica.
(Laughter)
(Rasete)
Actually, I put marijuana in everything I cooked --
De fapt, puneam marijuana in tot ce gateam -- (Rasete)
(Laughter)
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.
-- si aveam acces la cele mai bune fete. Era fabulos. Baietii din echipa de rugby nu intelegeau, dar oricum -- aceasta este o bezea. Este un alt exemplu pe care il am. Bezeaua este facuta exact in acelasi mod, dupa estimarile mele, ca si osul. Este facuta din poizaharide si proteine. Daca torni apa deasupra, se dizolva. Am putea sa facem produse din mancare in viitor? Nu e o idee rea. Nu stiu. Trebuie sa vorbesc cu Janine si cu cativa alti oameni despre asta, dar cred instinctual care bezeaua poate deveni ceva, o masina -- nu stiu.
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.
Ma mai intereseaza modelele de crestere: felul neinfranat in care natura creste lucrurile astfel incat forma sa nu fie o restrictie. Toate aceste forme interconectate ma inspira in tot ceea ce fac desi as putea ajunge sa fac ceva incredibil de simplu. Acesta este un detaliu de scaun, facut din magneziu. Arata dialogul dintre elemente si frumusetea gandirii ingineresti si biologice, reprezentate in principiu ca o structura osoasa. Oricare dintre aceste elemente poate fi atarnat pe un perete, sub forma unui obiect de arta. Este primul scaun din lume facut din magneziu.
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.
Producerea lui costa 1,7 milioane de dolari. Se cheama Go by Bernhardt, USA. A aparut in revista Time in 2001 reprezentand noua limba a secolului 21. Frate. Pentru cineva crescut intr-un satuc din Tara Galilor, este destul. Arata cum faci o forma holistica, ca in industria auto, si cum apoi dezmembrezi ceea ce ai nevoie. Este un mod de lucru absolut minunat. Este un mod de lucru divin. Este organic si esential. Este un design absolut fara umpluturi si cand te uiti la el. vezi fiintele umane. Esti binecuvantat.
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.
Cand se aplica la polimeri, poti schimba elasticitatea, fluiditatea formei. Aceasta este o idee de scaun dintr-o bucata facut dintr-un polimer injectat. Natura formeaza gauri in lucruri. Da libertate formei. Indeparteaza tot ce este surplus. Asta fac si eu. Fac lucuri organice care sunt esentiale. Arata si funky dar nu plec de la ideea de a face lucruri funky pentru ca ar fi un lucru absolut rusinos. Pornesc de la formele naturale.
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.
Daca ducem ideea de tehnologie a fractalilor mai departe, sa luam exemplul unei membrane, micsorand-o constant asa cum face natura: aceasta ar putea fi sezutul unui scaun, ar putea fi talpa unui pantof sport, ar putea fi o masina. Wow. Haideti sa facem asta. Asta trebuie facut. Asta exista in natura. Observatia ne va permite sa importam procesele din natura in procesul de design, din viata de zi cu zi. Asta fac. Asta e o expozitie care acum e in Tokyo.
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.
Se numeste Superlichiditate. Este o investigatie sculpturala, facuta de mine. E ca un Henry Moore al secolului 21. Cand vezi o opera semnata de Moore ti se ridica parul. Apare o conexiune spirituala uimitoare. Daca ar fi fost designer de masini, am fi condus cu totii una facuta de el. Pe vremea lui, platea cele mai mare taxe din Marea Britanie. Aceasta este puterea design-ului organic.
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.
Contribuie la simtul nostru de a fi, simtul de relationare cu alte lucruri, senzualitatea si, stiti voi, genul acel de -- pana si partea socio-erotica, care este foarte importanta. Aceasta este creatia mea. Acesta este tot procesul meu. Acestea sunt vandute drept opere de arta. Sunt printuri foarte mari. Dar asa ajung eu la acel obiect.
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.
In mod ironic, acel obiect a fost creat de procesul Killarney, care este un proces nou-nout pentru secolul 21, si parca il aud pe Greg Lynn razand de mama focului, in timp ce spun asta. O sa va vorbesc mai tarziu despre asta.
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.
Cand ma uit la aceste imagini, vad lucruri noi. Sunt auto-inspirat. Structuri moleculare diatomice, radiolarii, lucrurile pe care nu le puteam vedea dar le putem face acum. Acestea sunt golite de continut. Ele sunt facute practic din nimic. Sunt facute din silice. De ce nu structuri de masini de genul asta? Coralul, toate aceste forte naturale elimina ceea ce nu au nevoie si ofera frumusete maxima. Noi trebuie sa fim in acel taram. Vreau sa fac lucruri de aceasta maniera. Acesta este un scaun nou care ar trebui sa iasa pe piata in septembrie.
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.
Este pentru o companie numita Moroso din Italia. Este un scaun din polimer injectat cu gaz. Aceste gauri pe care le vedeti colo sunt foarte mici, versiuni reduse ale extremitatilor structurilor diatomice. Merge pe directia polimerului si veti vedea -- urmeaza o imagine care va arata imaginea in ansamblu. Este extraordinar ca exista companii in Italia care sustin acest fel de a visa. Daca vedeti umbrele care vin prin scaun, acestea sunt probabil mai importante decat produsul in sine dar nici nu are nevoie de mai mult. Spatarul lipsit de continut te lasa sa respiri. Indeparteaza orice material de care nu ai nevoie si de fapt inmagazineaza forma, deci --
I was going to break into a dance then.
mi-a venit sa dansez atunci.
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.
La asta lucrez acum. Ma uit la structuri cu o singura suprafata si felul in care curg -- cum se intind si cum curg. Este bazat pe tipoligiile mobilei, dar nu asta este motivatia finala. Este facut din aluminiu, ca un opus al acestuia, si este crescut. A crescut in mintea mea, si apoi a crescut in privinta intregului proces prin care il trec.
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.
Aici este acum doua saptamani la CCP din Coventry, care construieste piese pentru masinile Bentley si asa mai departe. Este construit chiar acum, in timp ce vorbim, si va fi expus la Phillips, anul viitor, in New York. Am un spectacol mare cu Phillips Auctioneers. Cand vad aceste animatii, o Iisuse, sunt dat pe spate. Asta se intampla in studio-ul meu, in fiecare zi. Merg, calatoresc. Ma intorc. Un tip are asta pe un computer -- este ca si cum, o Dumnezeule. Asa ca incerc sa creez aceasta energie de inventie in fiecare zi, in studioul meu. Aceasta efervescenta, o supa incarcata de sens care livreaza idei. Produse cu suprafata unica. Mobila este una buna.
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.
Cum faci sa creasca picioare dintr-o suprafata. As vrea sa construiesc asa ceva intr-o zi. Si poate ca mi-ar placea sa o construiesc si din faina, zahar, polimeri, aschii de lemn -- Nu stiu, par uman. Nu stiu. As vrea sa experimentez in aceasta directie. Nu stiu. Daca as avea ceva timp. Aici latura ciudata isi face prezenta din nou, si multe companii nu inteleg acest lucru.
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.
Acum trei saptamani eram la Sony, in Tokyo. Au zis, "Da-ne visul". "Care este visul nostru? Cum batem Apple?" Am zis, "Un lucru e sigur, sa nu copiati Apple". Am spus "Incercati domeniul biopolimerilor". S-au uitat prin mine. Ce pierdere. In orice caz. (Rasete)
(Laughter)
No, it's true. Fuck them. You know, I mean --
Nu, e adevarat. Sa le-o trag. Da-i naibii. Stiti, adica.
(Laughter)
(Rasete)
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.
Eu livrez, ei nu vor sa ia. Am aceasta imagine de 20 de ani. Am aceasta imagine a picaturii de apa de 20 de ani, stand pe un pat fierbinte. Aceasta este imaginea unei masini, pentru mine. Aceasta este masina viitorului. Este o picatura de apa. Am bombanit despre asta incat nu-mi vine sa cred de cand. Masinile sunt toate gresite.
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.
O sa va arat ceva ciudat acum. In toata lumea, au ras cand am aratat asta. Singurul loc in care nu au ras a fost in Moscova. Masinile sunt facute din 30,000 de componente. Cat de ridicol este asta? Nu puteai sa le faci din 300? Are forma unui aspirator, a unei tigai din carbon-nylon. Totul este integrat holistic. Se deschide si se inchide ca o cutie de paine. Nu exista motor. Are un panel solar montat pe spate, si sunt baterii in roti. Sunt dotate ca la Formula 1. Le dai jos de pe perete. Le bagi in priza. Si pleci in treaba ta. O masina cu trei roti: inceata, feminina, transparenta, asa ca poti vedea oameni din ea. Conduci diferit. (Rasete) Vezi acel lucru. Il faci. Il faci, dar nu anesteziat, separat de viata. E o gaura in fata, fara niciun motiv. Este o masina de oras. Iti faci drumul. Te dai jos. Conduci pana la o trompa. Te dai jos. Ea te ridica. Directioneaza panoul solar catre soare, si noaptea este o lampa de strada.
(Applause)
(Aplauze)
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.
Asta se intampla cand te lasi inspirat intai de lampile de pe strada, si apoi faci masina. Aceste bule -- pot sa vad aceste bule cu aceste pachete de hidrogen, plutind in jur, pe pamant, conduse de inteligenta artificiala. Cand am aratat asta in Africa de Sud, toata lumea spunea "Da, chiar, masina pe bat. Asa". Va puteti imagina? O masina pe bat.
(Laughter)
Daca o pui langa arhitectura contemporana,
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.
se simte natural, in opinia mea. Si asta fac si cu mobila mea. Nu mai pun mobila de Charles Eames in cladiri. Uitati de asta. Mergem mai departe. Incerc sa construiesc mobila care sa se potriveasca cu arhitectura. Incerc sa construiesc sisteme de transport. Lucrez la o intreaga aeronava pentru Airbus -- fac toate aceste lucruri, in incercarea de a forta aceste case de vis inspirate din natura. Voi incheia cu doua lucruri.
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.
Aceasta este steriolitografia unei scari. Este cu dedicatie catre James Watson. Am construit asta pentru studio-ul meu. M-a costat 250.000 de dolari s-o construiesc. Cei mai multi se duc si isi cumpara un Aston Martin. Eu am construit asta. Astea sunt informatiile care vin cu ea. Incredibil de complex. A durat doi ani de zile, pentru ca voiam un design fara adaosuri. Lucruri slabe, eficiente. Produse sanatoase. Aceasta e construita din compoziti. Este un singur element care se roteste pentru a crea un element holistic, si asta de aici este o balustrada din fibra de carbon care se sprijina in doua locuri. Materialele moderne ne permit sa construim lucruri moderne.
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.
Aceasta este o poza din studio. Asa arata cam in fiecare zi. Nu ai vrea sa ai frica de inaltimi, daca cobori pe ea. Practic, nu este nicio balustrada. Nu trece niciun standard.
(Laughter)
(Rasete)
Who cares?
Cui ii pasa?
(Laughter)
(Rasete)
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.
Da, si are o balustrada interna care ii da forta. Este o integrare holistica. Acesta este studio-ul meu. Este sub pamant. Este in Notting Hill langa toate mizeriile -- stiti voi, prostituate si toate alea. Este langa studio-ul original al lui David Hockney. Are un sistem de iluminare care se schimba, in decursul zilei. Angajatii mei se duc la pranz. Usa se deschide. Se intorc, pentru ca de obicei ploua, si prefera sa stea in studio.
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.
Aceasta este studio-ul meu. Craniul de elefant de la Universitatea din Oxford, 1988. L-am cumparat anul trecut. Sunt foarte greu de gasit. Daca cineva are un schelet de balena si este dispus sa mi-l vanda, l-as pune in studio. O sa ma intersectez putin cu
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.
cateva lucruri pe care o sa le vedeti in video. Este un video pe care l-am facut la ora 3 dimineata doar pentru a va arata cum este lumea mea reala. Nu vedeti niciodata asta. Nu vedeti niciodata arhitecti sau designeri care isi arata lumea lor adevarata. Se numeste Plasnet. Este un policarbon --
This is called a "Plasnet." It's a new bio-polycarbonate chair I'm doing in Italy.
un scaun nou din bio-policarbonat pe care il fac in Italia.
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.
Prima bicicleta din bambus cu ghidon pliabil. Ar trebui sa mergem pe totii pe o bicicleta ca asta. In timp ce chinezii cumpara toate masinile de doi lei, noi ar trebui sa mergem pe astfel de biciclete. Contrabalans.
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.
Cum spun, este un amestec intre Muzeul Natural de Istorie si laboratorul NASA. Este plin de prototipuri si obiecte. Este auto-inspirational. In rarele clipe pe care le petrec acolo, chiar ma bucur de el si vin foarte multi copii -- foarte foarte multi copii. Sunt un magnet pentru toti acei copii de investitori bancari -- labarii. Asta -- imi pare rau -- (Rasete)
(Laughter)
-- este o samanta solara. Este un concept pentru noua arhitectura.
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.
Acest lucru de sus este prima lampa de gradina alimentata cu energie solara -- prima produsa. Giles Revell ar fi trebuit sa va vorbeasca astazi -- poze uimitoare ale lucrurilor pe care nu le puteti vedea. Primul model sculptural pe care l-am facut pentru acel lucru, in Tokyo.
The first sculptural model I made for that thing in Tokyo.
Lots of stuff. There's a little leaf chair -- that golden looking thing is called "Leaf." It's made from Kevlar.
O multime de lucruri. Este un scaun in forma de frunza -- acel lucru auriu este numit Frunza. Este facut din Kevlar. Pe perete este cartea mea numita "Supernatural",
On the wall is my book called "Supernatural," which allows me to remember what I've done, because I forget.
care imi aminteste ce am facut, pentru ca uit.
There's an aerated brick I did in Limoges last year, in Concepts for New Ceramics in Architecture.
Este si o caramida aerata pe care am facut-o in Limoges anul trecut, in Concepte pentru Noua Ceramica in Arhitectura.
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.
[Neclar], lucrand la ora 3 dimineata -- si nu platesc orele suplimentare. Orele suplimentare sunt pasiunea pentru design, asa ca fie intri in club fie nu.
(Laughter)
Nu, este adevarat. Este adevarat. Oameni precum Tom si Greg --
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.
calatorim cum voi nu puteti -- este loc pentru tot. Nu stiu cum reusim.
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.
Saptamana viitoare sunt la Electrolux in Suedia, apoi sunt in Beijing, vineri. Vedeti voi cum ati putea face asta. Si cand vad pozele lui Ed ma gandesc, de ce ma mai duc in China? E adevarat. E adevarat. Pentru ca exista un suflet in acest lucru. Ne trebuie un nou instinct, pentru secolul 21. Trebuie sa combinam toate aceste lucruri. Daca toti oamenii care au vorbit in aceasta perioada ar lucra impreuna la o masina, ar fi o bucurie absoluta.
So there's a new X-light system I'm doing in Japan.
Deci, aici este un nou sistem X-light pe care-l fac in Japonia.
There's Tuareg shoes from North Africa. There's a Kifwebe mask.
Acestia sunt pantofii Tuareg din Africa de Nord. Aici e o masca Kifwebe.
These are my sculptures.
Acestea sunt sculpturile mele.
A copper jelly mold.
Un mulaj din jeleu de cupru.
(Laughter)
It sounds like some quiz show or something, doesn't it? So, it's going to end. Thank you, James, for your great inspiration.
Suna ca o intrebare la un concurs de cultura generala sau ceva, nu-i asa? Deci, am cam terminat. Multumesc, James, pentru marea inspiratie.
Thank you very much.
Multumesc foarte multe.
(Applause)
(Aplauze)