Being a child, and sort of crawling around the house, I remember these Turkish carpets, and there were these scenes, these battle scenes, these love scenes. I mean, look, this animal is trying to fight back this spear from this soldier. And my mom took these pictures actually, last week, of our carpets, and I remember this to this day. There was another object, this sort of towering piece of furniture with creatures and gargoyles and nudity -- pretty scary stuff, when you're a little kid.
Kada sam bio dijete, i puzao sam po kući, sjećam se onih turskih tepiha, i tamo su bili ti prizori, ratni prizori, ljubavni prizori. Mislim, pogledajte. Ova životinja se pokušava obraniti od koplja ovog vojnika. A moja mama je snimila te slike, u stvari do prošli tjedan, naših sagova, i sjećam se toga sve do danas. Tamo je bio još jedan predmet, neka vrsta jako visokog namještaja sa stvorenjima i nakazama i golotinjom -- prilično zastrašujuća stvar kada ste malo dijete.
What I remember today from this is that objects tell stories, so storytelling has been a really strong influence in my work. And then there was another influence. I was a teenager, and at 15 or 16, I guess like all teenagers, we want to just do what we love and what we believe in. And so, I fused together the two things I loved the most, which was skiing and windsurfing. Those are pretty good escapes from the drab weather in Switzerland.
Ono čega se sjećam danas iz toga jest da predmeti pričaju priče, i stoga je pričanje priča imalo vrlo snažan utjecaj na moj rad. A tu je još jedan utjecaj. Bio sam tinejdžer, i s 15 ili 16, pretpostavljam kao i svi tinejdžeri, htjeli smo samo raditi ono što volimo i ono u što vjerujemo. I tako, spojio sam zajedno dvije stvari koje sam najviše volio, a to je bilo skijanje i jedrenje na vjetru. To su poprilično dobri načini izbjegavanja jednoličnog vremena u Švicarskoj.
So, I created this compilation of the two: I took my skis and I took a board and I put a mast foot in there, and some foot straps, and some metal fins, and here I was, going really fast on frozen lakes. It was really a death trap. I mean, it was incredible, it worked incredibly well, but it was really dangerous. And I realized then I had to go to design school. (Laughter) I mean, look at those graphics there. (Laughter)
Stoga sam kreirao kompilaciju toga dvoga: Uzeo sam svoje skije i uzeo sam dasku i stavio sam stopalo jarbola tamo, i neko remenje za stopala i neke metalne peraje, i tako sam bio ovdje, idući stvarno brzo po zamrznutim jezerima. Bila je to doista zamka smrti. Mislim, bilo je nevjerojatno, funkcioniralo je nevjerojatno dobro, ali bilo je stvarno opasno. I shvatio sam tada da moram ići u školu za dizajn. (Smijeh) Mislim, pogledajte pogledajte ove crteže ovdje. (Smijeh)
So, I went to design school, and it was the early '90s when I finished. And I saw something extraordinary happening in Silicon Valley, so I wanted to be there, and I saw that the computer was coming into our homes, that it had to change in order to be with us in our homes. And so I got myself a job and I was working for a consultancy, and we would get in to these meetings, and these managers would come in, and they would say, "Well, what we're going to do here is really important, you know." And they would give the projects code names, you know, mostly from "Star Wars," actually: things like C3PO, Yoda, Luke. So, in anticipation, I would be this young designer in the back of the room, and I would raise my hand, and I would ask questions. I mean, in retrospect, probably stupid questions, but things like, "What's this Caps Lock key for?" or "What's this Num Lock key for?" You know, that thing? "You know, do people really use it? Do they need it? Do they want it in their homes?" (Laughter)
Tako sam otišao u školu za dizajn, i ranih 90-ih sam je završio, i vidio sam da se nešto nevjerojatno događa u Silicijskoj dolini, stoga sam želio biti tamo, i vidio sam kako računala dolaze u naše domove. Da se morao mijenjati kako bi bio s nama u našim domovima. I stoga sam si priskrbio posao i radio sam za tu konzultantsku kuću, i išli bi na te sastanke, a ti menadžeri bi dolazili, i rekli bi, "Dakle, ono što ćemo učiniti ovdje je uistinu važno, znate." I davali bi projektima kodna imena, znate, najviše iz Ratova zvijezda, zapravo: stvari poput C3PO, Yoda, Luke. Dakle u iščekivanju, ja bih bio taj mladi dizajner u stražnjem dijelu prostorije, i podigao bih svoju ruku, i pitao bih pitanja. Mislim, gledajući unatrag, vjerojatno glupa pitanja, ali stvari poput, "Čemu služi tipka Cap Lock?" ili "Čemu služi tipka Num Lock?" "Znate, ta stvar?" Znate, koriste li ih ljudi doista? Trebaju li ih? Žele li ih u svojim domovima? (Smijeh)
What I realized then is, they didn't really want to change the legacy stuff; they didn't want to change the insides. They were really looking for us, the designers, to create the skins, to put some pretty stuff outside of the box. And I didn't want to be a colorist. It wasn't what I wanted to do. I didn't want to be a stylist in this way. And then I saw this quote: "advertising is the price companies pay for being unoriginal." (Laughter)
Ono što sam shvatio jest da oni zapravo nisu htjeli mijenjati stvari koje su nasljeđene, nisu htjeli mijenjati utrobu. Oni su zapravo tražili nas, dizajnere, da stvorimo kože, da stavimo neke lijepe stvari s vanjske strane kutije. A ja nisam želio biti kolorist. To nije bilo ono što sam ja želio raditi. Nisam želio biti stilist u tom smislu. I onda sam vidio ovu izreku: "Oglašavanje je cijena koju poduzeća plaćaju da budu neoriginalna." (Smijeh)
So, I had to start on my own. So I moved to San Francisco, and I started a little company, fuseproject. And what I wanted to work on is important stuff. And I wanted to really not just work on the skins, but I wanted to work on the entire human experience. And so the first projects were sort of humble, but they took technology and maybe made it into things that people would use in a new way, and maybe finding some new functionality.
Stoga sam morao sam početi. Preselio sam se u San Francisco, i osnovao malo poduzeće, Fuseproject. I ono na čemu sam želio raditi su važne stvari. I nisam želio raditi samo na kožama, već sam želio raditi na cijelom ljudskom iskustvu. I tako su prvi projekti bili skromni, ali uzeli su tehnologiju i možda je pretvorili u stvari koje bi ljudi koristili na novi način, i možda pronašli neku novu funkcionalnost.
This is a watch we made for Mini Cooper, the car company, right when it launched, and it's the first watch that has a display that switches from horizontal to vertical. And that allows me to check my timer discretely, here, without bending my elbow. And other projects, which were really about transformation, about matching the human need. This is a little piece of furniture for an Italian manufacturer, and it ships completely flat, and then it folds into a coffee table and a stool and whatnot. And something a little bit more experimental: this is a light fixture for Swarovski, and what it does is, it changes shape. So, it goes from a circle, to a round, to a square, to a figure eight. And just by drawing on a little computer tablet, the entire light fixture adjusts to what shape you want.
Ovo je sat koji smo napravili za Mini Cooper, auto kompaniju, upravo kada je lansiran, i to je prvi sat koji ima zaslon koji se prebacuje s horizontalnog položaja u vertikalni. I to mi dozvoljava da diskretno provjerim vrijeme, ovdje, bez savijanja svog lakta. I drugi projekti u kojima se zapravo radilo o transformaciji, o udovoljavanju ljudskih potreba. Ovo je mali komad namještaja za talijanskog proizvođača, i transportira se potpuno spljošten, a zatim se sklopi u stolić za kavu i stolicu i što sve ne. I nešto malo više eksperimentalno: ovo je učvršćenje za svijetlo za Swarovski, i ono što radi jest da mijenja oblik. Tako se pretvara iz kruga, u kvadrat, u osmicu, i samo crtajući na malom računalnom tabletu, cijelo učvršćenje za svijetlo se pretvara u oblik koji želite.
And then finally, the leaf lamp for Herman Miller. This is a pretty involved process; it took us about four and a half years. But I really was looking for creating a unique experience of light, a new experience of light. So, we had to design both the light and the light bulb. And that's a unique opportunity, I would say, in design. And the new experience I was looking for is giving the choice for the user to go from a warm, sort of glowing kind of mood light, all the way to a bright work light. So, the light bulb actually does that. It allows the person to switch, and to mix these two colorations. And it's done in a very simple way: one just touches the base of the light, and on one side, you can mix the brightness, and on the other, the coloration of the light.
I na kraju, lampa list za Hermana Millera. Ovo je prilično uključen proces; trebalo nam je oko četiri i pol godine. Ali zapravo sam tragao za stvaranjem jedinstvenog svjetlosnog iskustva, novog iskustva svjetla. Stoga smo morali dizajnirati i svjetlo i žarulju. A to je jedinstvena prilika, rekao bih, u dizajnu. A novo iskustvo koje sam tražio je pružanje izbora korisniku da ide od toplog, neke vrste sjajnog svijetlećeg raspoloženja, cijelim putem do bistrog radnog svjetla. Žarulja zapravo to radi. Omogućava osobi da prebaci, i da pomiješa te dvije koloracije. A to je napravljeno na vrlo jednostavan način: osoba samo dotakne osnovicu svjetla, i na jednoj strani možete miješati svjetlost, a na drugoj, koloraciju svjetla.
So, all of these projects have a humanistic sense to them, and I think as designers we need to really think about how we can create a different relationship between our work and the world, whether it's for business, or, as I'm going to show, on some civic-type projects. Because I think everybody agrees that as designers we bring value to business, value to the users also, but I think it's the values that we put into these projects that ultimately create the greater value. And the values we bring can be about environmental issues, about sustainability, about lower power consumption. You know, they can be about function and beauty; they can be about business strategy. But designers are really the glue that brings these things together.
Dakle, svi ovi projekti imaju humanistički smisao, i mislim da kao dizajneri mi moramo doista razmišljati o tome kako stvaramo različite veze između našeg posla i svijeta, bilo da je to za posao, ili, kako ću pokazati, za neke civilne projekte. Jer mislim kako se svi slažemo da kao dizanjeri donosimo vrijednost poslovanju, isto tako vrijednost korisnicima, ali mislim da su vrijednosti koje stavljamo u te projekte one koje naposljetku stvaraju veću vrijednost. A vrijednosti koje donosimo mogu biti o pitanjima okoliša, o održivosti, o smanjenoj potrošnji energije. Znate, mogu one biti o funkciji i ljepoti; mogu one biti o poslovnoj strategiji. Ali dizajneri su uistinu ljepilo koje spaja te stvari.
So Jawbone is a project that you're familiar with, and it has a humanistic technology. It feels your skin. It rests on your skin, and it knows when it is you're talking. And by knowing when it is you're talking, it gets rid of the other noises that it knows about, which is the environmental noises.
Vilična kost je projekt s kojim ste upoznati, i ima humanističku tehnologiju. Osjeća vašu kožu; počiva na vašoj koži, i zna kada vi pričate. I kada zna da vi pričate, eliminira svu drugu buku koju poznaje, a to je buka okoliša.
But the other thing that is humanistic about Jawbone is that we really decided to take out all the techie stuff, and all the nerdy stuff out of it, and try to make it as beautiful as we can. I mean, think about it: the care we take in selecting sunglasses, or jewelry, or accessories is really important, so if it isn't beautiful, it really doesn't belong on your face. And this is what we're pursuing here.
Ali druga stvar koja je humanistička u viličnoj kosti jest da smo odlučili izvaditi sve tehnološke stvari, i sve štreberske stvari iz nje, i pokušati je učiniti što je ljepšom moguće. Mislim, razmislite: briga koju posvećujemo u izboru sunčanih naočala, ili nakita, ili dodataka je veoma važna, stoga ako nije lijepo, zapravo ne pripada vašem licu. A to je ono što želimo postići ovdje.
But how we work on Jawbone is really unique. I want to point at something here, on the left. This is the board, this is one of the things that goes inside that makes this technology work. But this is the design process: there's somebody changing the board, putting tracers on the board, changing the location of the ICs, as the designers on the other side are doing the work. So, it's not about slapping skins, anymore, on a technology. It's really about designing from the inside out. And then, on the other side of the room, the designers are making small adjustments, sketching, drawing by hand, putting it in the computer. And it's what I call being design driven. You know, there is some push and pull, but design is really helping define the whole experience from the inside out.
Ali način na koji radimo na viličnoj kosti je doista jedinstven. Želim naglasiti nešto ovdje s lijeve strane. Ovo je daska, ovo je jedna od stvari koja ide unutra a koja omogućava da ova tehnologija radi. Ali to je dizajnerski proces: netko tamo mijenja dasku, stavlja tragače na dasku, mijenja lokaciju IC-eva dok dizajneri s druge strane rade posao. Dakle, ne radi se više o ljepljenju koža na tehnologiju. Radi se zapravo o dizajniranju iznutra prema van. A zatim na drugom kraju prostorije, dizajneri rade male preinake, skicirajući, crtajući rukom, stavljajući je u računalo, i to je ono što ja zovem pogonjenost dizajnom. Znate, postoji nekoliko pogurni i povuci, ali dizajn nam usitinu pomaže definirati cijelo iskustvo iznutra prema van.
And then, of course, design is never done. And this is -- the other new way that is unique in how we work is, because it's never done, you have to do all this other stuff. The packaging, and the website, and you need to continue to really touch the user, in many ways. But how do you retain somebody, when it's never done? And Hosain Rahman, the CEO of Aliph Jawbone, you know, really understands that you need a different structure. So, in a way, the different structure is that we're partners, it's a partnership. We can continue to work and dedicate ourselves to this project, and then we also share in the rewards.
I zatim, naravno, dizajn nikada nije završen. I to je drugi novi način koji je jedinstven u tome kako radimo, jer nikad ne završava, moraš napraviti sve druge stvari. Pakiranje, i web stranica, i morate nastaviti doista dirnuti korisnika, na mnogo načina. Ali kako zadržite nekoga kada nikada nije gotovo? I Hosain Rahman, šef Aliph vilične kosti, znate, uistinu shvaća kako trebate drugačiju strukturu. Dakle, drugačija struktura jest da smo mi partneri, to je partnerstvo. Možemo nastaviti s radom i posvetiti sebe tom projektu, i zatim sve dijelimo u nagradama.
And here's another project, another partnership-type approach. This is called Y Water, and it's this guy from Los Angeles, Thomas Arndt, Austrian originally, who came to us, and all he wanted to do was to create a healthy drink, or an organic drink for his kids, to replace the high-sugar-content sodas that he's trying to get them away from. So, we worked on this bottle, and it's completely symmetrical in every dimension. And this allows the bottle to turn into a game. The bottles connect together, and you can create different shapes, different forms. (Laughter) (Applause) Thank you. (Applause)
A ovdje je drugi projekt, još jedan tip partnerskog pristupa. Ovo je zvano Y voda, i taj čovjek iz Los Angelesa, Thomas Arndt, izvorno iz Austrije, koji je došao k nama, i sve što je želio napraviti je zdravo piće, ili organsko piće za svoju djecu, kako bi zamijenio gazirana pića s puno šećera od kojih ih pokušava zaštiti. Stoga smo radili na toj boci, i potpuno je simetrična u svakoj dimenziji. I to omogućava da se boca pretvori u igru. Boce se mogu spojiti zajedno, i možete kreirati različite oblike, različite forme. (Smijeh) (Pljesak) Hvala vam. (Pljesak)
And then while we were doing this, the shape of the bottle upside down reminded us of a Y, and then we thought, well these words, "why" and "why not," are probably the most important words that kids ask. So we called it Y Water. And so this is another place where it all comes together in the same room: the three-dimensional design, the ideas, the branding, it all becomes deeply connected. And then the other thing about this project is, we bring intellectual property, we bring a marketing approach, we bring all this stuff, but I think, at the end of the day, what we bring is these values, and these values create a soul for the companies we work with. And it's especially rewarding when your design work becomes a creative endeavor, when others can be creative and do more with it.
I dok smo radili na tome, oblik boce okrenute naopačke nas je podsjetio na slovo Y, i onda smo pomislili, pa te riječi, zašto i zašto ne, su vjerojatno najvažnije riječi za koje djeca pitaju. Stoga smo je nazvali "Y voda". I, dakle, to je još jedno mjesto gdje sve dolazi skupa u istoj prostoriji: trodimenzionalan dizajn, ideje, brendiranje, sve postaje duboko povezano. I zatim još jedna stvar o tom projektu je da donosimo intelektualno vlasništvo, donosimo marketinški pristup, donosimo sve te stvari, ali mislim, na kraju dana, ono što donosimo su te vrijednosti, a te vrijednosti stvaraju dušu kompanijama s kojima surašujemo. I posebno je nagrađujuće kada vaš dizajnerski rad postane kreativno nastojanje, kada drugi mogu biti kreativni i učiniti više s njim.
Here's another project, which I think really emulates that. This is the One Laptop per Child, the $100 laptop. This picture is incredible. In Nigeria, people carry their most precious belongings on their heads. This girl is going to school with a laptop on her head. I mean, to me, it just means so much. But when Nicholas Negroponte -- and he has spoken about this project a lot, he's the founder of OLPC -- came to us about two and a half years ago, there were some clear ideas. He wanted to bring education and he wanted to bring technology, and those are pillars of his life, but also pillars of the mission of One Laptop per Child. But the third pillar that he talked about was design. And at the time, I wasn't really working on computers. I didn't really want to, from the previous adventure. But what he said was really significant, is that design was going to be why the kids were going to love this product, how we were going to make it low cost, robust. And plus, he said he was going to get rid of the Caps Lock key -- (Laughter) -- and the Num Lock key, too.
Ovo je drugi projekt, za koji mislim da doista emulira to. Ovo je jedan laptop po djetetu, laptop za 100 dolara. Ova slika je nevjerojatna. U Nigeriji ljudi nose svoje najvrednije stvari na svojim glavama. Ova cura ide u školu s laptopom na svojoj glavi. Mislim, meni, to znači tako puno. Ali kada je Nicholas Negroponte -- a on je puno pričao o tom projektu, on je osnivač jednog laptopa po djetetu -- došao k nama prije otprilike dvije i pol godine, postojale su neke jasne ideje. Želio je uzeti edukaciju, i želio je uzeti tehnologiju, i to su dva stupa njegovog života, ali ujedno i stupovi misije jednog laptopa po djetetu. Ali treći stup o kojem je pričao je bio dizajn. A u to vrijeme nisam baš radio na računalima. Doista nisam želio, još iz prethodne avanture. Ali ono što je rekao je uistinu bilo značajno, a to je da će dizajn biti upravo ono zbog čega će djeca voljeti ovaj proizvod. Kako ćemo ga učiniti jeftinim, snažnim, i plus, rekao je da ćemo se riješiti "Cap Lock" tipke -- (Smijeh) -- i "Num Lock" tipke isto tako.
So, I was convinced. We designed it to be iconic, to look different. To look like it's for a kid, but not like a toy. And then the integration of all these great technologies, which you've heard about, the Wi-Fi antennas that allow the kids to connect; the screen, which you can read in sunlight; the keyboard, which is made out of rubber, and it's protected from the environment.
Dakle, bio sam uvjeren. Dizajnirali smo ga da bude ikonski, da izgleda drugačije, da izgleda kao da je za dijete, ali ne poput igračke. I zatim integracija svih tih odličnih tehnologija o kojima ste čuli, WiFi antene koje dozvoljavaju djeci da se spoje; ekran s kojega možete čitati po suncu; tipkovnica, koja je napravljena iz gume, i zaštićena je od okoliša.
You know, all these great technologies really happened because of the passion and the OLPC people and the engineers. They fought the suppliers, they fought the manufacturers. I mean, they fought like animals for this to remain they way it is. And in a way, it is that will that makes projects like this one -- allows the process from not destroying the original idea. And I think this is something really important.
Znate, sve te odlične tehnologije su se uistinu dogodile zbog te strasti i ljudi koji rade na projektu jedan laptop po djetetu i inžinjera. Borili su se s dobavljačima, borili su se s proizvođačima. Mislim, borili su se poput životinja da to ostane kako je. I na način na koji će projektima poput ovoga, omogućiti proces neuništavanja izvorne ideje. I mislim kako je to nešto jako važno.
So, now you get these pictures -- you get up in the morning, and you see the kids in Nigeria and you see them in Uruguay with their computers, and in Mongolia. And we went away from obviously the beige. I mean it's colorful, it's fun. In fact, you can see each logo is a little bit different. It's because we were able to run, during the manufacturing process, 20 colors for the X and the O, which is the name of the computer, and by mixing them on the manufacturing floor, you get 20 times 20: you get 400 different options there. So, the lessons from seeing the kids using them in the developing world are incredible.
Dakle, sada vam je malo jasnije -- ustanete ujutro, i vidite tu djecu u Nigeriji i vidite ih u Urugvaju sa svojim računalima, i u Mongoliji. I promijenili smo boju iz očito bež -- mislim šareno je; zabavno je. Zapravo, možete vidjeti kako je svaki logo pomalo drugačiji. To je zato jer smo bili u mogućnosti isprobavati, tijekom procesa proizvodnje, dvadeset boja za X i za O, što je ime računala, i miješajući ih u pogonima za proizvodnju, dobijete dvadeset puta dvadeset: dobijete 400 različitih opcija. Pouke koje smo izvukli promatrajući djecu kako ih koriste u svijetu u razvoju su nevjerojatne.
But this is my nephew, Anthony, in Switzerland, and he had the laptop for an afternoon, and I had to take it back. It was hard. (Laughter) And it was a prototype. And a month and a half later, I come back to Switzerland, and there he is playing with his own version. (Laughter) Like paper, paper and cardboard.
Ali ovo je moj nećak Anthony, u Švicarskoj, i imao je laptop na jedno poslijepodne, i morao sam ga vratiti natrag. Bilo je teško. (Smijeh) I bio je prototip. I mjesec i pol dana kasnije, vratio sam se u Švicarsku, i tamo se on igra sa svojom verzijom. (Smijeh) Kao papir, papir i karton.
So, I'm going to finish with one last project, and this is a little bit more of adult play. (Laughter) Some of you might have heard about the New York City condom. It's actually just launched, actually launched on Valentine's Day, February 14, about 10 days ago. So, the Department of Health in New York came to us, and they needed a way to distribute 36 million condoms for free to the citizens of New York. So a pretty big endeavor, and we worked on the dispensers. These are the dispensers. There's this friendly shape. It's a little bit like designing a fire hydrant, and it has to be easily serviceable: you have to know where it is and what it does. And we also designed the condoms themselves.
Dakle, završit ću s jednim posljednjim projektom, a taj je više za odrasle da se igraju s njim. (Smijeh) Neki od vas su možda čuli za kondom New Yorka. Zapravo je upravo lansiran, zapravo lansiran na Valentinovo, 14-tog veljače, prije otprilike deset dana. Dakle, Zavod za zdravstvo New Yorka je došao do nas, i trebali su pronaći način da distribuiraju 36 milijuna kondoma besplatno građanima New Yorka. Dakle, prilično velik izazov, i radili smo na uređajima za distribuciju; ovo su ti uređaji za distribuciju. Ovo je prijateljska verzija. Pomalo je nalik dizajniranju hidranta za vodu, i mora se moći lako servisirati: morate znati gdje se nalazi i što radi. I dizajnirali smo i same kondome.
And I was just in New York at the launch, and I went to see all these places where they're installed: this is at a Puerto Rican little mom-and-pop store; at a bar in Christopher Street; at a pool hall. I mean, they're being installed in homeless clinics -- everywhere. Of course, clubs and discos, too. And here's the public service announcement for this project. (Music) (Laughter) Get some. (Applause)
I bio sam u New Yorku na lansiranju, i otišao sam vidjeti sva ta mjesta gdje su postavljeni. Ovo je Puerto Rican, mala trgovina, u baru u ulici Christopher, u biljarnici. Mislim, postavljeni su posvuda u klinikama za beskućnike. Naravno u klubovima i diskotekama također. A ovo je obavijest javne službe za taj projekt. (Glazba) (Smijeh) Uzmite nekoliko. (Pljesak)
So, this is really where design is able to create a conversation. I was in these venues, and people were, you know, really into getting them. They were excited. It was breaking the ice, it was getting over a stigma, and I think that's also what design can do. So, I was going to throw some condoms in the room and whatnot, but I'm not sure it's the etiquette here. (Laughter) Yeah? All right, all right. I have only a few. (Laughter) (Applause) So, I have more, you can always ask me for some more later. (Laughter) And if anybody asks why you're carrying a condom, you can just say you like the design. (Laughter)
Dakle, ovo je doista gdje dizajn je u mogućnosti stvoriti razgovor. Bio sam na tim mjestima, i ljudi su, znate, doista se zainteresirali za njih. Bili su uzbuđeni. Razbijalo je led, prelazilo je preko stigme, i mislim kako je to ono što dizajn isto može učiniti. Stoga ću baciti nekoliko kondoma po prostoriji i što sve ne, ali nisam siguran kako je ovdje to običaj. (Smijeh) Da, u redu, u redu. Imam ih samo nekoliko. (Smijeh) (Pljesak) Imam ih još, uvijek me možete pitati kasnije za još. (Smijeh) A ako vas itko pita zašto nosite kondom, možete samo reći da volite dizajn. (Smijeh)
So, I'll finish with just one thought: if we all work together on creating value, but if we really keep in mind the values of the work that we do, I think we can change the work that we do. We can change these values, can change the companies we work with, and eventually, together, maybe we can change the world. So, thank you. (Applause)
Završit ću samo jednom mišlju: ako svi radimo zajedno na stvaranju vrijednosti, ali ako uistinu čuvamo u mislima vrijednosti rada koji obavljamo, mislim da možemo promijeniti posao koji radimo. Možemo promijeniti te vrijednosti, možemo promijeniti kompanije s kojima radimo, i naposljetku, zajedno, možda možemo promijeniti svijet. Stoga, hvala vam. (Pljesak)