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.
還是小孩時,在家裡爬來爬去, 我記得這些土耳其地毯, 還有這些景象:打鬥的景象、恩愛的景象。 你看,這隻動物試圖對抗 士兵刺下的矛。 我媽上星期拍這些照片, 這些地毯,到現在我都還記得。 還有另一個物品,這個高聳的家具, 有動物、怪獸和裸女 – 對小孩而言蠻可怕的。
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.
今天我記得的是,這些物品都會說故事, 因此說故事對我的工作有很強的影響。 另外還有一個影響。 我還是個青少年,15、16歲,像其他青少年一樣, 我們想做自己喜愛、自己信仰的事。 因此, 我融合了我最喜歡的兩件事: 滑雪和風帆。 那是避開瑞士枯燥氣候的好方法。
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)
因此,我創作了這兩件事的組合: 我拿了我的雪橇及滑溜板,安上一個桅杆座, 幾條綁腳帶及一些金屬鰭片, 就這樣,在結冰的湖面高速滑行。 那真是個死亡陷阱。很難相信, 它可以用,但卻非常危險。 因此,我知道我該去讀設計學校。 (笑聲) 我是說,看看那些圖像。 (笑聲)
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)
因此我去讀了設計學校, 那是 ’90年代早期,當我畢業時, 我發現矽谷發生著奇特的事, 我想要去那裡, 我發現電腦正在走入家庭。 電腦要改變才能和我們在家裡相處。 我找到一份工作,在設計顧問公司上班, 我們會去參加會議, 經理們進來, 他們會說: 「我們要做的事真的很重要。」 他們將為專案取個代碼, 大都取自星際大戰,如:C3PO、尤達、路克。 充滿期待,我這個年輕設計師 坐在會議室後方,我會舉手 問問題。 回想當初,或許是些笨問題, 像:「Cap Lock 鍵做什麼用?」 或「Num Lock 鍵做什麼用?」- 就是這個。 人們真的使用它嗎? 他們需要它嗎?在家裡要它嗎? (笑聲)
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)
那時我覺得,他們不想改變 傳統的東西;他們不想改變內部。 他們要設計師去創造表皮, 放些好看的東西在盒子外。 我不想當彩妝師。 那不是我想做的。 我不想做這樣的美容師。 接著我讀到這句名言: 「廣告是公司為沒有原創性而付出的代價。」 (笑聲)
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.
因此,我必須自己來。我搬到舊金山, 開了家小公司:Fuseproject。 我想做的是重要的事。 我不要只是做表皮, 我要做完整的人類體驗。 早期的專案都很卑微, 它們採用科技,放到產品裡, 讓人得以新方式去使用, 或找到新功能性。
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.
這個錶是我們為 Mini Cooper 汽車公司 開張時做的, 它的顯示是第一個可以 水平、垂直調換。 它讓我能準確讀取時間, 不必彎曲手臂。 其他的專案則是做轉換, 去滿足人類的需求。 這是為義大利公司做的小家具, 裝運時是平的, 然後可折成咖啡桌、凳子、或什麼的。 還有一些實驗性的: 這是施華洛燈具, 它會改變形狀: 圓形、環形、方形、8 字形, 在小型電腦數位板上畫一下, 燈具就調整為你要的形狀。
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.
最後,Herman Miller 的葉子燈。 這是個介入很深的過程, 它花了我們大約四年半。 我一心追求創造獨特的照明體驗, 新的照明體驗。 因此我們要同時設計燈和燈泡。 我認為,這是很特別的設計機會。 我追求的新體驗 是讓使用者選擇從 一種溫暖的,有點微弱的心情燈光, 一路到光亮的工作燈。 燈泡真的可以那樣。 使用者可以調整、 混合這兩種色調。 原理很簡單: 只要碰觸燈座, 一邊可以混合亮度, 另一邊則是光的色調。
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.
因此這些專案都有人道意義, 我認為身為設計師,我們該思考 如何創造我們的作品 和世界的新關係, 不論是商業專案, 或如我將要提的公益專案。 因為大家都同意,身為設計師我們帶來價值: 商業價值、使用者價值, 但我認為,是我們放進專案的價值 最後創造出更大的價值。 我們帶來的價值 可能是關於環境議題、 永續性、低耗能。 它們可能是功能或美觀; 可能是商業策略。 但設計師卻是黏膠 把這些組合在一起。
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.
Jawbone 是你們知道的專案, 它使用人性化的科技。 它能感覺你的皮膚, 它知道你何時說話。 因為知道你說話, 它可以消除其他噪音, 也就是環境噪音。
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.
Jawbone 的其他人性面是, 我們決定要除去太科技的東西、 及難懂的東西, 並使它盡可能美觀。 就是說,你想: 我們用心選擇太陽眼鏡、珠寶、 或飾品等是很重要的, 如果它不好看,就不該掛在臉上。 這就是我們追求的。
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.
但我們如何創造 Jawbone,真的很特別。 我要用左邊的畫面來說明。 這是電路板,是放在內部 使科技運作的東西。 設計過程是這樣的: 有人改變電路板、 在電路板放描跡器、改變IC的位置, 而設計師在另一邊工作。 所以它不再是為科技做表皮。 而真的是由內而外的設計。 而房間的另一邊 設計師們忙著做修正、 畫草圖、徒手畫、電腦建檔等, 這就是我說的「設計驅導」。 你知道的,有些推力和拉力, 但設計真的由內往外 幫助定義整個體驗。
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.
當然設計永遠做不完。 這也是我們工作的獨特之處, 因為它永遠做不完, 你必得做其他的東西。 包裝、網站,你必需繼續 以各種方式接觸使用者。 但你如何留住人,如果它永遠做不完呢? Hosain Rahman – Jawbone 執行長 很清楚需要有不同的結構。 所謂不同結構是指我們是伙伴, 有伙伴關係。我們可以繼續工作, 致力於這個專案, 我們都分享成果。
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)
這是另一個專案,另一個伙伴型的方法。 這個叫Y水, 是由來自洛杉磯的傢伙,叫 Thomas Arndt, 出生於澳洲,他來找我們, 想要為小孩們創造健康飲水, 或叫有機飲水, 以替代高糖含量的汽水, 他要小孩別喝汽水。 因此,我們創造了這個瓶子, 它在各個面向都是對稱的。 這使瓶子可以變成遊戲。 瓶子可互相結合, 可創造不同形狀、不同形態。 (笑聲) (掌聲) 謝謝。 (掌聲)
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.
當我們正在做這個時, 瓶子顛倒的形狀讓我們想到Y, 於是我們想到 why、why not 可能是孩子們最重要的疑問詞。 於是我們把它命名為「Y水」。這又是 另個出自同一房間的例子: 立體設計、構想、品牌, 都有很深的結合。 這個專案的另一件事是, 我們帶來智財權, 我們帶來行銷手法, 我們帶來這些,到當天結束時, 我們帶來這些價值, 這些價值替公司創造一個靈魂。 那個報償是特別高的,如果你的設計工作 是個有創意的付出, 使其他人能有創意並做得更好。
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.
這是另一個專案, 它發揮了那個理念。 這是「每個學童有電腦」,或叫 「百元電腦」專案。 這張照片令人驚奇。 奈及利亞人把最貴重的東西帶在頭上。 這個女孩頂著電腦去上學。 對我,那真是意義不凡。 當 Nicholas Negroponte – 他談過很多這個專案的事, 他是 OLPC 的創始人 – 來找我們 大約兩年半前, 他有很清晰的想法。 他要推動教育,他要推動科技, 這是他生命的支柱, 也是「每個學童有電腦」使命的支柱。 但他談的第三支柱是設計。 那時我並不設計電腦。 我不很想做,因為有之前的經歷。 但他說得很有意思, 設計可以使這些學童 喜歡這個電腦。 如何使它便宜、強固, 此外他說,他要除去 Cap Lock 鍵 – (笑聲) – 還有 Num Lock 鍵。
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.
我被說服了。我們把它設計得佷獨特, 看起來不同,就像學童用的,但不像玩具。 還有那些重要科技的整合, 你聽過的,如: WiFi 天線讓學童們上網; 陽光下也能讀的屏幕; 橡膠做的鍵盤, 它不受環境影響。
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.
這些重要科技之能加進去, 全是靠一股熱情、 OLPC 推動者、及工程師們。 他們向供應商爭取, 向製造商爭取。 他們就像動物一樣, 為了留住這些而爭取。 因為這樣,而能達成這個專案, 容許整個過程 不致扼殺原本的想法。 我認為這是很重要的事。
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.
所以,看看這些照片 – 早晨起來,你看到奈及利亞的學童、 烏拉圭的學童 有電腦了,還有蒙古的學童。 我們不再用米黃色 – 而用活潑的色彩;有趣。 事實上,你可以看到,每個標誌都有點不同。 因為我們能夠 在製造過程中, 各 20 色用在X和O, 這是電腦的名字, 將它們在製造現場混合, 20 x 20: 共有 400 種組合。 看開發中國家學童用它們 得到的啟示是難能可貴的。
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.
但這是我侄子安東尼,在瑞士, 有個下午我讓他用電腦, 要把它拿回來,還真難。 (笑聲) 這是原型機。一個半月後, 我回到瑞士, 看到他在玩自己的電腦。 (笑聲) 像是紙,紙和紙板。
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.
結束前將再談一個專案。 這有點像是成人遊戲。 (笑聲) 或許有人聽過紐約安全套。 它才剛發行,在情人節公開, 二月十四日,大約十天前。 紐約衛生局來找我們, 他們要找分送安全套的方法 免費分送 3,600 萬個安全套給紐約市民。 是一件大工程,我們設計配送器, 這些就是配送器。它有親切的外形。 有點像是設計消防栓, 它要方便好用: 我們要知道它在哪、能做什麼。 我們也設計安全套本身。
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)
發行時我剛好在紐約, 我去看它們裝設的地方。 這是 Puerto Rican,一家小型雜貨店, 克里斯多街的一家酒吧、在撞球場。 裝在各處的遊民保健中心。 當然還有俱樂部和迪斯可舞廳。 這是專案的公共廣告。 (音樂) (笑聲) 拿幾個吧。 (掌聲)
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)
這是設計 能創造的對話。 我到了這些地方,人們都 都去拿了。他們很興奮。 可以說破冰了, 它打破了難為情, 我認為這也是設計能做到的。 因此,我想要... 丟一些安全套給觀眾, 但我不確定是否適宜。 (笑聲) 啊,很好。我只有一些。 (笑聲) (掌聲) 還有一些,想要可以再找我。 (笑聲) 如果有人問:你為何帶安全套, 你可以說,你喜歡它的設計。 (笑聲)
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)
最後,我以一個想法來做結束: 如果我們一起創造價值, 如果我們都記住我們工作的價值, 我們能改變我們的工作。 我們能改變這些價值,能改變公司, 最後,也許我們能一起改變世界。 謝謝。 (掌聲)