I'm an industrial designer, which means I create all these cool things from ideas that we surround ourselves with, or in this case, geeky people surround themselves with, for the most part. I have absolutely no background in biology, chemistry or engineering, so bear with me, because I'll be talking about biomedical engineering today.
我是工業設計師, 就是說,我創造各種酷玩意兒, 靈感來自我們周遭的點子, 或是,在這個例子中, 主要是怪胎周遭的點子。 我完全沒有生物、 化學、工程的背景, 請容忍我一下,因為我今天 要談的是生物醫學工程。
(Laughter)
(笑聲)
And please do stay here in the meantime.
過程中請留在這裡。
Industrial design is about making lots of things identical. The downside about that is, there's something impersonal about lots of identical things, because when you're trying to design one thing for one person to solve one issue, you can't really do that when you're making things aimed more to a demographic model or to a marketing requirements document, which is what we live by. So I got disheartened by the whole process in general, and went to rethink it and redesign designing altogether, went way back to my early, early design inspirations, and back to about eight years old, and that got me to this guy. Anyone here from MIT knows him or has a tattoo or poster of him somewhere.
工業設計的重點是 要讓很多東西一模一樣。 缺點是,很多一模一樣的東西, 感覺很沒人情味, 因為當你試圖為某個人設計某樣東西 來解決某個問題, 你不能靠著 人口統計模型來做, 或是行銷需求文件來做, 但我們只能遵守這個原則來做。 所以,通常我對 這整個流程感到沮喪, 所以我去重新思考它, 同時重新設計了「設計」, 我回到我很早的設計靈感, 回到大約八歲時, 我知道了這個傢伙。 麻省理工學院的人都認識他, 至少在某處有他的刺青或海報。
(Laughter)
(笑聲)
Anyone else in the room, just for a hint, he is the engineer of engineers or the designer of designers. He is the guy who made bionics a household word in the form of the polyester-clad Six Million Dollar Man that I grew up with.
給這裡不認識他的人一個暗示, 他是工程師中的工程師, 或設計師中的設計師。 是他讓仿生學成為人人熟知的詞, 原因就是電視影集 《六百萬的人》裡這位聚酯包覆人, 我就是看著這個節目長大的。
The thing that came from this pop culture show, the real takeaway, was two main things: if you're designing for the person, for a real person, you don't settle for the minimum functional requirements; you see how far beyond that you can go, where the rewards really are way out in the fringe of how far past that document you can go. And if you can nail that, you stand to improve the quality of life for somebody for every moment for the rest of their life. I kind of distilled that down into a design philosophy, and infuse that into the studio that I have now; I'm trying to get everyone to think along these lines. It's not a profound philosophy, but it works for us.
這個流行文化節目的重點, 真正的意義,主要是兩樣東西: 如果你在為一個真人做設計, 你不能妥協只做到最低功能需求; 你要看你還能超越多少, 真正的獎賞遠在邊緣之外, 就看你能夠超越需求文件多遠。 如果你能搞定, 你就能改變某人的生活品質, 改變他餘生的每一刻。 我把它去蕪存菁簡化 成了一個設計哲學, 並把它注入到我現在的工作室當中; 我試著要讓每個人 都根據這些方式來做。 它不是很深奧的哲學, 但對我們來說有用。
We work with prosthetic limbs, and the first thing you see about prosthetic limbs is that they are engineering brilliance. They can do amazing things; they can return all kinds of functionality and performance back to somebody's life. But from the vantage of an industrial designer, they're not quite there. What we don't see is the sculpture or the beauty or the individual qualities or the uniqueness or the elegance to them. They are brilliant, mechanical, utilitarian devices. And that's great, except for a lot of people, that doesn't work. People come to our studio all the time, and they have bubble wrap and duct tape, trying to approximate their original form. Or they'll have a gym sock stuffed with other gym socks to try to recreate the shape that once was; and that, to us, is not thriving.
我們做的是人工義肢, 看到人工義肢時,你最先會 注意到它們的工程光彩。 它們能做很了不起的事; 它們能將各種功能和技能 重新帶回一個人的人生當中。 但從工業設計師的角度來看, 還沒有完全做到。 我們還沒有看到 它們的雕塑性、美麗、 個別特質、獨特性、或優雅。 它們是很出色的實用機械裝置。 那很棒,不過對很多人而言, 那樣沒有用。 常常有人來我們的工作室, 他們用氣泡紙和強力膠帶, 試圖去模擬他們原本的樣子。 或是他們會把運動襪塞到運動襪裡, 試著創造出過去曾經有過的外形; 對我們來說,那不太成功。
The body, to us, is not a mechanical entity, where mechanical-only solutions can address them. It's our personal sculpture, our kinematic sculpture. It is our canvas; it represents not just our physicality, but also a lot of our personality as well. So when you're designing for the body, maybe the thing isn't to design for mass production, but to design with the body in mind, to really think about curves instead of hard geometry, or uniqueness instead of identical. The problem is, we're constrained by mass production, which makes a million identical things but can't make one unique, individualized thing. So we scrapped that in the new design process, and we start with the person.
對我們來說,身體並不是只能用 機械解決方案來處理的機械實體。 它是我們的個人雕塑, 我們的運動學雕塑。 它是我們的畫布; 它代表的不只是我們的體形特徵, 也代表我們的個性。 所以當你在為身體做設計時, 也許重點並不是要為了量產而設計, 而是要心裡想著身體來做設計, 真正去思考曲線, 而不是冷酷的幾何, 思考獨特性,而不是一模一樣。 問題是,我們受到了量產的限制, 量產是要製作百萬個相同的東西, 無法做出一個獨特、個人化的東西。 所以在新的設計流程中, 我們放棄了這些, 我們從人開始。
This is a three-dimensional scanner, and that's what happens when you scan somebody: you get three-dimensional data into your computer. You can take the sound-side limb there, the surviving limb, mirror it over, and from now on, anything in the process will recreate symmetry -- something as personal and as hard to achieve as symmetry in the body. And you create a product that, no matter what, it's going to be as unique as their fingerprint. In fact, our process is incapable of creating two identical things. So we run it through computer modeling, 3D CAD. Here, we actually infuse a lot of the individual's taste and personality into it, everywhere we can, and we three-dimensionally print the results. We call the resulting parts "fairings," because they're named after the panels on a motorcycle that turn it from a mechanical thing into a sculptural thing.
這是三維的掃瞄器, 掃瞄一個人就可以得到這種結果: 電腦上會出現三維的資料。 你可以把好的、還健在的肢體 做鏡向反射,從現在開始, 在流程中的任何東西 都會重建出對稱── 這東西不但很個人化、 也很不容易做到像身體一樣對稱。 你創造出來的產品,不論如何, 都會和指紋一樣是獨一無二的。 事實上,我們的流程沒有辦法 做出兩件一樣的東西。 所以我們採用電腦建模,3D CAD。 在這裡,我們能在任何 我們能注入的地方, 注入很多的個人品味和個性, 然後我們把結果用三維列印印出來。 我們把產出的部件稱為「整流」, 這個詞是來自摩托車的整流罩, 它將機械式的東西轉變為雕塑。
We tried this on Chad. Chad is a competitive soccer player, lost his leg eight years ago to cancer. You can imagine, it's really tricky to play soccer when you have titanium pipe where there used to be a leg. The resulting parts recreated his shape and deliberately had an aesthetic that look like sporting gear. We wanted it to make it look like he just pulled it out of the gym bag, so it's fairly utilitarian in that regard. Two things happened. One, we expected: his sense of his body came back to him. He was suddenly able to control the ball, to feel the ball, because his body remembered that original shape that he had had up until eight years ago. The other thing, though, is that the other members of the team stopped thinking of him as the amputee on the team. Not that they didn't know, but it stopped becoming a focal point for him. And there is a certain very quiet value in that, we like to believe.
我們拿查德來嘗試。 查德是比賽的足球員, 八年前因為癌症失去一條腿。 可以想像,原本是腿的地方 被鈦金屬管取代之後, 要踢足球是很困難的。 我們做出的部件重建了他的外型, 還刻意加上了美學 讓它看來像運動的裝備。 我們想要讓它看起來像是 他剛把它從運動袋中拿出來, 所以在這方面它是很實用的。 有兩件事發生了。 第一件是意料之中: 他對身體的感覺回來了。 他突然能夠控制球、感受到球, 因為他的身體一直 記得他原本的身形, 直到八年前。 第二件事是,球隊的其他隊員 不再認為他是隊中的被截肢者了。 並非他們不知道他被截肢, 但那不再是他的焦點了。 在這當中,有著一種 心照不宣的默契在, 我們願意如此相信。
James lost his leg in a motorcycle crash. And the motorcycle is still a big part of James's personality and style. Check out the tattoo on his forearm. We three-dimensionally printed that into what would be his calf. He has his tattoo, he has his morphology and he has the materials of his motorcycle. And the result is interesting in that you can't really tell at first glance where the motorcycle stops and where James starts. It's kind of a chimera hybrid between the two, and James likes that.
詹姆士在摩托車事故中失去他的腿。 而摩托車仍然是詹姆士的 個性和風格中很大的一部份。 看看他前臂的刺青。 我們把那刺青用三維列印 印在小腿的部位。 他有他的刺青,他有他的形態學, 他有他的摩托車的材料。 而結果是很有趣的, 你第一眼其實看不出來 摩托車和詹姆士的區分界線在哪裡。 它有點像是兩者合而為一的感覺, 詹姆士很喜歡。
(Laughter)
(笑聲)
So, we don't ever try to make something look like it could be human. Our whole goal is to be unapologetically man-made, to take what's already there, morphology, and just make it really cool and beautiful, something that somebody can't wait to show the world, because that changes their look. You don't look at him and say, "He's an amputee with a prosthetic." You say, "He's a guy with something really cool going on.
我們並不是在試著做出 看起來像真人的東西。 我們的目標是理直氣壯的 做出人造產品, 用現有的東西以及形態學, 把東西做得很酷很美, 做成讓你等不及秀給世界看的東西, 因為這能改變他們的外觀。 你不會看著他說: 「他是裝著義肢的被截肢者。」 你會說:「他身上 有個非常酷的東西。」
Deborah wanted her curves back, but she also just wanted what came out of it to be really sexy, which is great for us to hear. We created this lace pattern that lends itself well to 3D printing. We created the first leg, I think, where the lace defines the contour of the leg, instead of the leg giving form to the lace. We switched things over. What I like about this shot is you can see daylight through it. So we're not trying to hide anything; the load-bearing carbon component is totally visible. We're just giving it form and shape and contours that were hers to begin with. We made her another leg that matched her purse, just because we could.
戴博菈想要她以前的曲線, 但她也想要曲線帶來性感的感覺, 我們很高興聽到這點。 我們創造了這個蕾絲模式, 很適合做三維列印。 我們做出了第一隻腿,我認為 蕾絲的部份明確顯現出了腿的輪廓, 而不是腿給了蕾絲一個外形。 我們將兩者調換了過來。 我喜歡這張照片,是因為 可以看到日光穿透過腳。 我們沒有要隱藏什麼; 承重的碳元件完全看得見。 我們只是給予它外形、形狀、輪廓, 這些都是本來就屬於她的。 我們為她做了另一條腿, 來搭配她的包包, 只因為我們做得到。
(Laughter)
(笑聲)
(Applause)
(掌聲)
We made another one where we laser-tattooed the leather, because how cool would it be to be able to change your tattoos out from one minute to the next? Love that. We try to capture as much of somebody's personality as we can.
我們又做了另一件, 在皮革上做雷射刺青, 因為只要一分鐘 就可以改變你的刺青是多酷的事啊? 我很愛。 我們盡可能去捕捉一個人的個性。
This is George. His will be finished next week. This is the raw computer data that we deal with. He's kind of a classic, timeless-type personality, so we did herringbone tweed, but in polished nickel.
這是喬治。他的腿在下週會完成。 這是我們在處理的電腦原始資料。 他有種經典、不受時間影響的個性, 所以我們做了人字形花呢, 但用的是抛光的鎳。
(Laughter)
(笑聲)
And Uve was all too proud to show his tattoos, so we are laser-tattooing those into the leather. Part of it is, yes, we're showing off, because we can do this, but the other part is this connects him to what will be a part of him. That is something really valuable; we believe in that. Tattoos are especially exciting for us. What happens if you take the tattoo, which is a combination of somebody's personal taste and choice, and their morphology, but now, let's say, you remove the person. You get a free-floating tattoo defining their body. So everything we do is about recreating and expressing something that means something to that person, and expressing that through what would be their body, whether it's speed or attitude or bling, whatever it is that captures and suggests them in the best way we can.
而烏維對他的刺青非常得意, 所以我們用雷射在皮革上做刺青。 的確我們一部份是 在炫耀我們能做到這些。 但也是讓他和未來身體的 部份能有所連結。 我們相信其中有相當的價值。 對刺青的部份我們特別興奮。 想想這樣的情境, 刺青結合了一個人的 個人口味和選擇、 以及他們的形態學, 但如果你把人的部份給拿掉。 你就得到了獨立的刺青, 用來定義他們的身體。 我們所做的一切, 就是在重新創造和表現出 對當事人有意義的東西, 透過將會成為 他們身體的東西來表現, 不論是速度、態度、或閃亮華麗, 我們會盡全力來捕捉 他們的特質並提供建議。
Back to the 3D-printing thing and this whole process: we have a process that lends itself to making one thing per person; it's very individual, and it actually really lends itself well to complexity. So why not just print the entire leg? That's the concept that preceded the work we're doing now. This is a three-dimensionally printed leg. It's symmetric to the other leg. It is made in America, it is a trivially low-carbon footprint to create, curbside recyclable, costs about 4,000 dollars to create, and it is dishwasher-safe.
回到三維列印以及整個流程: 這個流程很適合 為一個人做一樣東西; 它非常個人化, 且其實很適合複雜性。 那為什麼不把整隻腿 列印出來就好? 那其實是在我們現在 做這些之前的概念。 這是一隻三維列印出來的腳, 和另一隻腳對稱。 它是美國製, 製作的碳足跡非常低, 可在路邊回收, 製作費用大約 $4,000, 可用洗碗機洗。
(Laughter)
(笑聲)
There's a value to that, too. People don't think about that all the time, but yes, throw it in the dishwasher, it works just great. This was based on the original idea that I could go anywhere in the world with nothing more than a camera and a laptop computer, use the camera as a 3D scanner and create for somebody, in a matter of hours, a very high-quality, three-dimensionally printed leg for a very low cost. The proof of concept works great, we're finding it; we'll get there. Or, we upped the quality of the materials and created this for John. The fun thing with John's leg is that when his fiancee looked at this, she joked and said, "I like that leg better than that leg."
那也是有價值的。 人們通常不會想到這點, 但,是的,把它丟到 洗碗機洗,完全沒問題。 這背後的原始想法是, 我可以到世界任何地方, 只要帶一台相機和一台筆記型電腦, 用相機來當三維掃瞄器, 就能在幾小時內為別人創作 非常高品質的三維列印腿, 且成本非常低。 概念驗證非常成功, 我們正在朝那裡邁進。 或是,我們為約翰提升了 材料品質,做出了這個。 約翰的腳有一件趣事, 當他的未婚妻看著這隻腳時, 她會開玩笑說: 「我喜歡這隻腳勝過那隻腳。」
(Laughter)
(笑聲)
And it's a joke -- she knows full well what he goes through -- but at the same time, there's something very valuable. He turned to us and said, "Nobody says that." He's never heard that in his life. That connected with him very deeply.
那是個玩笑── 她完全清楚他經歷過什麼── 但同時,那當中也有著相當的價值。 他轉向我們,說: 「從來沒有人那樣說過。」 他一生中從來沒有聽過。 那讓他有很深的連結。
So we like to think that this is a new type of design, where you're turning the original process on its head, where there is a dialogue that forms between the designer and the end user, where the designer relinquishes some of the control -- designers hate doing that -- and instead, is the curator of a process. And the end user relinquishes their body into the process, and their taste. I'd like to think that speaks to a greater change that's happening in the design world altogether; in this case, it's one where products will be evaluated on how well they address the individual. The individual will actually be part of the DNA of the end product itself. We will be evaluating products on how well they address a unique person, instead of a demographic model.
我們認為,這是一種新式的設計, 把原本的流程完全顛覆了, 在設計師和終端使用者 之間有對話形成, 設計師交出一些控制權── 設計師很討厭這樣做── 取而代之,扮演流程監管人。 在流程中,終端使用者則要 交出他們的身體及品味。 我認為,那也表示在整個設計世界 有更大的改變在發生; 在這個例子中的改變是, 產品被評估的方式, 是根據它多能滿足個人需求來評估。 而個人其實也會是 成品本身的 DNA 的一部份。 我們會根據產品多能滿足 一個獨特的人,來評價這個產品, 而不是用人口統計模型來看。
This all really hit home for us in one of the first legs we did; when Chad here put on the leg, reached down and felt it and thought about it for a while. Then he turned to us and said, "That's the first time I've felt that shape in eight years." We thought about that. And for all the technology and all the nights and energy we put into it, that's all we really wanted to hear.
其實在我們最初做出的一隻腳上, 就能看到預期的效果出現; 就是當查德裝上他的腳的時候, 他伸手去觸碰,去感覺它, 深思了一下。 接著他轉向我們,說: 「這是八年來我第一次 感受到那形狀。」 我們思考了那一點。 我們為它投入了 那麼多技術、時間、精力, 我們想聽到的就是那句話。
Thanks.
謝謝。
(Applause)
(掌聲)