TED2015
Neri Oxman: Design at the intersection of technology and biology
内里•奥克斯曼: 在科技和生物交汇处设计
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设计师内里•奥克斯曼带领团队研究可以让数字制造技术和生物世界互动的设计方法。致力于综合运用运计、增材制造、材料工程和合成生物的研究，她的实验室开辟了一个让微生物、我们的身体、我们的产品甚至我们的建筑可以共生的新时代。
Neri Oxman - Architect, designer
From the micro scale to the building scale, Neri Oxman imagines and creates structures and objects that are inspired, informed and engineered by, for and with nature. Full bio
From the micro scale to the building scale, Neri Oxman imagines and creates structures and objects that are inspired, informed and engineered by, for and with nature. Full bio
Double-click the English transcript below to play the video.
00:13
Two twin domes,
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两个宛如双胞胎的圆顶建筑，
00:15
two radically opposed design cultures.
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两种截然相反的设计文化。
00:19
One is made of thousands of steel parts,
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一个由成千上万的钢件制成，
00:22
the other of a single silk thread.
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另一个由单一丝线构成。
00:26
One is synthetic, the other organic.
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一个是人工合成的，另一个是有机的。
00:28
One is imposed on the environment,
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一个被嵌入环境之中，
00:31
the other creates it.
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另一个创造环境。
00:33
One is designed for nature,
the other is designed by her.
the other is designed by her.
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一个为自然设计，另一个由自然设计。
米开朗琪罗说，当他看着天然的大理石，
00:38
Michelangelo said that
when he looked at raw marble,
when he looked at raw marble,
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00:40
he saw a figure struggling to be free.
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他看到跃跃欲出的图案。
00:43
The chisel was Michelangelo's only tool.
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米开朗琪罗唯一的工具是凿子。
但自然生物不是凿刻出来的，
00:49
But living things are not chiseled.
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它们是生长出来的。
00:51
They grow.
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在我们生命的最小单位——
我们的细胞里，包含了
我们的细胞里，包含了
00:53
And in our smallest units of life,
our cells, we carry all the information
our cells, we carry all the information
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所有其他细胞得以运作和复制的信息。
00:59
that's required for every other cell
to function and to replicate.
to function and to replicate.
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工具也带来了一些影响。
01:06
Tools also have consequences.
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01:08
At least since the Industrial Revolution,
the world of design has been dominated
the world of design has been dominated
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至少自工业革命以来，我们的设计被
01:13
by the rigors of manufacturing
and mass production.
and mass production.
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制造业和大规模生产的严格标准所控制。
01:16
Assembly lines have dictated
a world made of parts,
a world made of parts,
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装配线主宰了一个由部件构成的世界，
01:19
framing the imagination
of designers and architects
of designers and architects
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限制了设计师和建筑师的想象力。
01:22
who have been trained to think
about their objects as assemblies
about their objects as assemblies
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他们被训练设计出的作品
都由功能不同的分立部件组装而成。
01:25
of discrete parts with distinct functions.
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01:30
But you don't find homogenous
material assemblies in nature.
material assemblies in nature.
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但你不能在自然界中
找到同质材料的组合。
找到同质材料的组合。
拿我们人类的皮肤来说，
01:35
Take human skin, for example.
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01:38
Our facial skins are thin
with large pores.
with large pores.
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我们的面部皮肤薄，毛孔大。
01:41
Our back skins are thicker,
with small pores.
with small pores.
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我们的背部皮肤厚，毛孔小。
一个主要充当过滤器，
01:45
One acts mainly as filter,
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一个主要充当屏障。
01:48
the other mainly as barrier,
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01:49
and yet it's the same skin:
no parts, no assemblies.
no parts, no assemblies.
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但它是一张皮肤：没有部件，没有组装。
01:54
It's a system that gradually
varies its functionality
varies its functionality
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这是一个系统，通过改变弹性
01:57
by varying elasticity.
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逐渐改变它的功能。
01:59
So here this is a split screen
to represent my split world view,
to represent my split world view,
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这里有两个分开的屏幕，
代表我不同的世界观，
代表我不同的世界观，
02:03
the split personality of every designer
and architect operating today
and architect operating today
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以及每个设计师和建筑师设计时
两种不同的个性：
两种不同的个性：
02:08
between the chisel and the gene,
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凿子相对基因，
02:10
between machine and organism,
between assembly and growth,
between assembly and growth,
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机器相对生物体，组装相对生长，
02:15
between Henry Ford and Charles Darwin.
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亨利．福特相对查尔斯．达尔文，
这两种世界观，我的左脑和右脑，
02:18
These two worldviews,
my left brain and right brain,
my left brain and right brain,
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02:21
analysis and synthesis, will play out
on the two screens behind me.
on the two screens behind me.
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分析和综合，
等下会在我身后的两个屏幕上显示。
等下会在我身后的两个屏幕上显示。
我的工作，用最简单的说法，
02:29
My work, at its simplest level,
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02:32
is about uniting these two worldviews,
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就是结合这两种世界观。
02:34
moving away from assembly
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远离组装，
02:37
and closer into growth.
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靠近生长。
各位可能会问自己：
02:41
You're probably asking yourselves:
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02:43
Why now?
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为什么是现在？
02:44
Why was this not possible 10
or even five years ago?
or even five years ago?
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为什么不是在10年甚至是5年前？
我们生活在史上一个特殊的时期，
02:50
We live in a very special time in history,
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02:52
a rare time,
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一个罕见的时期。
02:54
a time when the confluence of four fields
is giving designers access to tools
is giving designers access to tools
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在这个时期设计师可以综合运用
我们之前从未接触过的
四个领域中的工具去设计。
四个领域中的工具去设计。
02:59
we've never had access to before.
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这些领域分别是：运算化设计，
03:02
These fields are computational design,
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让我们可以运用简单代码设计复杂事物；
03:05
allowing us to design
complex forms with simple code;
complex forms with simple code;
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03:10
additive manufacturing,
letting us produce parts
letting us produce parts
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增材制造，让我们可以
03:14
by adding material
rather than carving it out;
rather than carving it out;
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通过添加材料
而不是通过凿刻生产部件；
而不是通过凿刻生产部件；
03:17
materials engineering, which lets us
design the behavior of materials
design the behavior of materials
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材料工程，让我们可以精细地
设计材料行为；
03:21
in high resolution;
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03:23
and synthetic biology,
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合成生物学
03:24
enabling us to design new biological
functionality by editing DNA.
functionality by editing DNA.
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让我们可以通过编辑DNA
设计新的生物功能。
设计新的生物功能。
通过综合运用这4个领域，
03:29
And at the intersection
of these four fields,
of these four fields,
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03:31
my team and I create.
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我的团队和我进行创造。
03:33
Please meet the minds and hands
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请看我学生们
03:35
of my students.
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通过匠心巧手创造的作品。
我们设计的对象、产品、结构和工具
03:39
We design objects and products
and structures and tools across scales,
and structures and tools across scales,
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03:45
from the large-scale,
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跨越各种规模。
03:47
like this robotic arm
with an 80-foot diameter reach
with an 80-foot diameter reach
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大的像这个有80英尺直径的机械手臂，
03:50
with a vehicular base that will
one day soon print entire buildings,
one day soon print entire buildings,
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装载在车辆上，
它在不远的将来可以打印整栋楼。
它在不远的将来可以打印整栋楼。
03:54
to nanoscale graphics made entirely
of genetically engineered microorganisms
of genetically engineered microorganisms
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小的像
完全由转基因微生物制成的纳米图案
完全由转基因微生物制成的纳米图案
03:59
that glow in the dark.
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它在黑暗里会发光。
04:01
Here we've reimagined the mashrabiya,
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这里我们重塑了mashrabiya，
04:03
an archetype of ancient
Arabic architecture,
Arabic architecture,
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阿拉伯古代建筑的原型。
04:06
and created a screen where
every aperture is uniquely sized
every aperture is uniquely sized
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我们创建一个屏幕，
屏幕上每个毛孔都有独特的大小，
屏幕上每个毛孔都有独特的大小，
04:10
to shape the form of light and heat
moving through it.
moving through it.
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当光和热穿过它们时可以形成这个图案。
在我们的下一个项目中，
04:14
In our next project,
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04:16
we explore the possibility
of creating a cape and skirt --
of creating a cape and skirt --
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我们尝试创造一件披肩和一条裙子——
04:19
this was for a Paris fashion show
with Iris van Herpen --
with Iris van Herpen --
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这是和Iris van Herpen
为巴黎时装展创造的作品。
为巴黎时装展创造的作品。
04:23
like a second skin
that are made of a single part,
that are made of a single part,
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它像是由单一部件制成的第二层皮肤，
04:25
stiff at the contours,
flexible around the waist.
flexible around the waist.
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硬朗的轮廓，灵活地缠绕在腰间。
通过和Stratasys 3D打印机
的长时间合作，
的长时间合作，
04:29
Together with my long-term
3D printing collaborator Stratasys,
3D printing collaborator Stratasys,
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04:33
we 3D-printed this cape and skirt
with no seams between the cells,
with no seams between the cells,
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我们3D打印出的披肩和裙子浑然一体，没有缝线。
04:38
and I'll show more objects like it.
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我会展示更多类似的作品。
04:41
This helmet combines
stiff and soft materials
stiff and soft materials
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这个头盔结合了软硬不同的材质，
04:44
in 20-micron resolution.
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具有20微米的精细度，
04:48
This is the resolution of a human hair.
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这是一根头发的精细度，
04:50
It's also the resolution of a CT scanner.
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也是CT扫描仪的精细度。
设计师运用
04:53
That designers have access
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04:55
to such high-resolution
analytic and synthetic tools,
analytic and synthetic tools,
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如此高精细度的分析合成工具，
04:59
enables to design products that fit
not only the shape of our bodies,
not only the shape of our bodies,
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设计出的作品不仅符合我们身体的形状，
05:04
but also the physiological
makeup of our tissues.
makeup of our tissues.
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还符合我们组织的生理构造。
接下来，我们设计了一张声学椅子，
05:08
Next, we designed an acoustic chair,
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05:10
a chair that would be at once
structural, comfortable
structural, comfortable
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它可以快速变型，很舒服
05:13
and would also absorb sound.
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并且可以吸音。
05:16
Professor Carter, my collaborator, and I
turned to nature for inspiration,
turned to nature for inspiration,
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卡特教授是我的合作者，
我们一起去大自然寻找灵感。
我们一起去大自然寻找灵感。
05:20
and by designing this irregular
surface pattern,
surface pattern,
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通过设计这个不规则的表面，
05:23
it becomes sound-absorbent.
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使这张椅子可以吸音。
我们打印了44种不同材质的这种表面，
05:26
We printed its surface
out of 44 different properties,
out of 44 different properties,
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05:30
varying in rigidity, opacity and color,
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硬度、透明度和颜色都不同，
05:34
corresponding to pressure points
on the human body.
on the human body.
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并且与人体的压力点对应。
05:38
Its surface, as in nature,
varies its functionality
varies its functionality
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这个表面，正如自然界的东西，
改变功能
改变功能
05:42
not by adding another material
or another assembly,
or another assembly,
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不是通过添加其他材料或进行组装，
05:45
but by continuously and delicately
varying material property.
varying material property.
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而是通过持续精细地改变材料属性。
但大自然是理想的吗？
05:52
But is nature ideal?
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05:56
Are there no parts in nature?
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大自然里有没有部件呢？
我不是生长在一个犹太教的家庭，
06:01
I wasn't raised
in a religious Jewish home,
in a religious Jewish home,
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06:04
but when I was young,
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但我小的时候，
06:05
my grandmother used to tell me
stories from the Hebrew Bible,
stories from the Hebrew Bible,
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我的祖母曾经告诉我希伯来圣经的故事。
06:09
and one of them stuck with me and came
to define much of what I care about.
to define much of what I care about.
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其中有一个故事我一直记得
并且影响了我对很多重要事情的看法。
并且影响了我对很多重要事情的看法。
06:13
As she recounts:
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她是这样描述的：
06:15
"On the third day of Creation,
God commands the Earth
God commands the Earth
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“在创世纪的第三天，上帝让地球
06:18
to grow a fruit-bearing fruit tree."
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长出结实累累的果树。”
06:20
For this first fruit tree,
there was to be no differentiation
there was to be no differentiation
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这第一棵果树，
06:23
between trunk, branches,
leaves and fruit.
leaves and fruit.
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树干，树枝，叶子和果实
都没有什么区别，
都没有什么区别，
06:28
The whole tree was a fruit.
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整棵树就是个水果。
但从土地里长出来的树
却有树皮，茎和花。
却有树皮，茎和花。
06:32
Instead, the land grew trees
that have bark and stems and flowers.
that have bark and stems and flowers.
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土地创造了一个由不同部件组成的世界。
06:38
The land created a world made of parts.
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我经常问自己：
06:42
I often ask myself,
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06:44
"What would design be like
if objects were made of a single part?
if objects were made of a single part?
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“如果我们的设计作品
都由单一的部件组成将会是怎样？
都由单一的部件组成将会是怎样？
06:49
Would we return to a better
state of creation?"
state of creation?"
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我们会回归到一个更好的创造状态吗？”
所以我们开始寻找圣经里的那种材料，
06:54
So we looked for that biblical material,
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06:56
that fruit-bearing fruit tree
kind of material, and we found it.
kind of material, and we found it.
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类似于那种果树的材料，
然后我们找到了。
然后我们找到了。
地球上第二丰富的生物聚合物叫甲壳素。
07:03
The second-most abundant biopolymer
on the planet is called chitin,
on the planet is called chitin,
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07:07
and some 100 million tons of it
are produced every year
are produced every year
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每年大约1亿吨的甲壳素
07:10
by organisms such as shrimps,
crabs, scorpions and butterflies.
crabs, scorpions and butterflies.
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由虾、蟹、蝎子和蝴蝶生产出。
我们想如果可以调整它的属性，
07:15
We thought if we could tune
its properties,
its properties,
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07:17
we could generate structures
that are multifunctional
that are multifunctional
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我们就可以从单一部件中
07:20
out of a single part.
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获得多功能的结构。
07:22
So that's what we did.
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所以这就是我们所做的。
我们打电话给「合法海鲜」
（一间连锁餐厅店名）——
（一间连锁餐厅店名）——
07:24
We called Legal Seafood --
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07:27
(Laughter)
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（笑声）
07:28
we ordered a bunch of shrimp shells,
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我们订购了一批虾壳，
07:30
we grinded them
and we produced chitosan paste.
and we produced chitosan paste.
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把它们磨碎，然后做成甲壳素糊。
通过改变化学浓度
07:34
By varying chemical concentrations,
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07:36
we were able to achieve
a wide array of properties --
a wide array of properties --
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我们可以得到许多不同的属性——
07:39
from dark, stiff and opaque,
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从深色的、硬的和不透明的，
07:41
to light, soft and transparent.
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到浅色的，柔软的和透明的。
为了打印大型的结构，
07:44
In order to print the structures
in large scale,
in large scale,
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07:47
we built a robotically controlled
extrusion system with multiple nozzles.
extrusion system with multiple nozzles.
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我们设计了一个由机器控制的喷出系统，
具有多个喷嘴，
具有多个喷嘴，
机器手臂可以在空中改变材料属性，
07:52
The robot would vary
material properties on the fly
material properties on the fly
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07:55
and create these 12-foot-long structures
made of a single material,
made of a single material,
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创造出这些12英尺长的结构，
全由单一材料组成，
全由单一材料组成，
08:00
100 percent recyclable.
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100%可以回收利用。
08:03
When the parts are ready,
they're left to dry
they're left to dry
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当这些部件做好之后，它们自然风干
并通过接触空气自然成型。
08:06
and find a form naturally
upon contact with air.
upon contact with air.
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所以我们何必还用塑料进行设计呢？
08:10
So why are we still
designing with plastics?
designing with plastics?
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这些气泡是打印过程的副产品，
08:15
The air bubbles that were a byproduct
of the printing process
of the printing process
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08:19
were used to contain
photosynthetic microorganisms
photosynthetic microorganisms
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我们用来容纳光合微生物。
08:22
that first appeared on our planet
3.5 billion year ago,
3.5 billion year ago,
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这些微生物在35亿年前
第一次在我们的星球上出现，
第一次在我们的星球上出现，
08:25
as we learned yesterday.
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就如我们昨天学到的那样。
通过我们与哈佛和麻省理工学院的合作，
08:27
Together with our collaborators
at Harvard and MIT,
at Harvard and MIT,
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08:30
we embedded bacteria
that were genetically engineered
that were genetically engineered
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我们植入基因改造过的细菌。
08:33
to rapidly capture carbon
from the atmosphere
from the atmosphere
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这些细菌能迅速捕获空气中的碳，
08:36
and convert it into sugar.
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并将其转化为糖。
这是第一次，
08:39
For the first time,
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08:41
we were able to generate structures
that would seamlessly transition
that would seamlessly transition
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我们可以无缝地
将梁状结构转变成网状结构，
08:45
from beam to mesh,
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08:48
and if scaled even larger, to windows.
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甚至再大一些，可以变成窗户，
或者是一棵果树。
08:52
A fruit-bearing fruit tree.
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08:54
Working with an ancient material,
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通过使用一种古老的材料，
08:57
one of the first lifeforms on the planet,
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地球上最早的生命形式之一，
08:59
plenty of water and a little bit
of synthetic biology,
of synthetic biology,
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足够的水以及一点点合成生物学，
09:03
we were able to transform a structure
made of shrimp shells
made of shrimp shells
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我们可以将一个虾壳的结构转变成
09:07
into an architecture
that behaves like a tree.
that behaves like a tree.
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一个像树一样生长的建筑。
最棒的一点是：
09:11
And here's the best part:
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09:14
for objects designed to biodegrade,
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它们是可以生物降解的，
09:16
put them in the sea,
and they will nourish marine life;
and they will nourish marine life;
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把它们放入大海，
他们可以滋养海洋生物，
他们可以滋养海洋生物，
09:19
place them in soil,
and they will help grow a tree.
and they will help grow a tree.
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将它们放入土壤，
它们可以帮助树木生长。
它们可以帮助树木生长。
09:24
The setting for our next exploration
using the same design principles
using the same design principles
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在使用同样的设计原则的前提下，
09:28
was the solar system.
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我们的下一个探索目标是太阳系统。
09:30
We looked for the possibility
of creating life-sustaining clothing
of creating life-sustaining clothing
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我们尝试探索为星际航行
09:34
for interplanetary voyages.
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制造维持生命的服装。
09:38
To do that, we needed to contain bacteria
and be able to control their flow.
and be able to control their flow.
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要做到这一点，
我们要控制细菌并控制它们的生长趋势。
我们要控制细菌并控制它们的生长趋势。
09:43
So like the periodic table, we came up
with our own table of the elements:
with our own table of the elements:
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正如元素周期表那样，
我们想出自己的元素表：
我们想出自己的元素表：
09:48
new lifeforms that
were computationally grown,
were computationally grown,
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运算培养的新生命形态，
09:51
additively manufactured
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增材制造的新生命形态，
09:53
and biologically augmented.
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以及生物增长的新生命形态。
我喜欢把合成生物技术想成液体炼金术，
09:58
I like to think of synthetic biology
as liquid alchemy,
as liquid alchemy,
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10:01
only instead of transmuting
precious metals,
precious metals,
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只是你不是炼化贵重金属，
10:04
you're synthesizing new biological
functionality inside very small channels.
functionality inside very small channels.
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而是在非常小的管道里
合成新的生物功能。
合成新的生物功能。
10:08
It's called microfluidics.
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这称为微流体。
10:11
We 3D-printed our own channels
in order to control the flow
in order to control the flow
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我们3D打印了我们自己的管道，
以控制这些液体细菌的生长趋势。
10:15
of these liquid bacterial cultures.
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在我们的第一件衣服中，
我们结合了两种微生物。
我们结合了两种微生物。
10:19
In our first piece of clothing,
we combined two microorganisms.
we combined two microorganisms.
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10:23
The first is cyanobacteria.
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第一种是蓝藻，
10:25
It lives in our oceans
and in freshwater ponds.
and in freshwater ponds.
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它生活在我们的海洋以及谈水塘中。
10:28
And the second, E. coli, the bacterium
that inhabits the human gut.
that inhabits the human gut.
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第二个是大肠杆菌，
这种细菌居住在人类的肠道中。
这种细菌居住在人类的肠道中。
蓝藻将光转变成糖，
大肠杆菌消耗那些糖，
大肠杆菌消耗那些糖，
10:32
One converts light into sugar,
the other consumes that sugar
the other consumes that sugar
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10:36
and produces biofuels
useful for the built environment.
useful for the built environment.
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并生产出对保护环境有用的生物燃料。
10:39
Now, these two microorganisms
never interact in nature.
never interact in nature.
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这两种细菌在自然界中从未有过互动，
10:44
In fact, they never met each other.
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事实上，它们从未相遇。
10:46
They've been here,
engineered for the first time,
engineered for the first time,
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它们在这里第一次被设计到一起，
10:49
to have a relationship
inside a piece of clothing.
inside a piece of clothing.
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在一件衣服里产生了联系。
它不是自然选择的产物，
10:53
Think of it as evolution
not by natural selection,
not by natural selection,
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10:56
but evolution by design.
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而是设计的产物。
为了控制这些关系，
10:59
In order to contain these relationships,
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11:01
we've created a single channel
that resembles the digestive tract,
that resembles the digestive tract,
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我们创建了一条类似于消化道的单管道。
11:05
that will help flow these bacteria
and alter their function along the way.
and alter their function along the way.
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这可以帮助这些细菌生长
并沿途改变它的功能，
并沿途改变它的功能，
然后我们开始在人体上种植这种通道，
11:10
We then started growing
these channels on the human body,
these channels on the human body,
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11:14
varying material properties
according to the desired functionality.
according to the desired functionality.
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根据想要的功能改变材料的属性。
在我们需要更多光合作用的地方，
我们就设计更多的透明管道。
我们就设计更多的透明管道。
11:17
Where we wanted more photosynthesis,
we would design more transparent channels.
we would design more transparent channels.
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这是可以穿戴的消化系统，
如果将它从头到尾伸展开来，
如果将它从头到尾伸展开来，
11:23
This wearable digestive system,
when it's stretched end to end,
when it's stretched end to end,
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11:28
spans 60 meters.
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大约有60米，
11:30
This is half the length
of a football field,
of a football field,
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这是半个足球场的长度，
11:32
and 10 times as long
as our small intestines.
as our small intestines.
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是我们小肠长度的十倍。
在TED大会上我们首次展示——
11:37
And here it is for the first time
unveiled at TED --
unveiled at TED --
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11:40
our first photosynthetic wearable,
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我们第一件会自行生长、
11:42
liquid channels glowing with life
inside a wearable clothing.
inside a wearable clothing.
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可行光合作用、有生命的液体管道服饰。
（掌声）
11:46
(Applause)
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11:47
Thank you.
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谢谢。
玛丽.雪莱曾说：
“我们是未成形的生物，只被完成了一半”
“我们是未成形的生物，只被完成了一半”
11:51
Mary Shelley said, "We are unfashioned
creatures, but only half made up."
creatures, but only half made up."
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11:55
What if design could provide
that other half?
that other half?
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那么如果设计可以提供另一半呢？
11:59
What if we could create structures
that would augment living matter?
that would augment living matter?
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如果我们可以创造出
一种能扩充生物组织的结构呢？
一种能扩充生物组织的结构呢？
如果我们可以创造私人的微生物群
12:06
What if we could create
personal microbiomes
personal microbiomes
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12:09
that would scan our skins,
repair damaged tissue
repair damaged tissue
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能扫描我们皮肤，修复损伤的组织
12:13
and sustain our bodies?
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以及维持我们身体运作呢？
让我们把它想成生物编辑的形态。
12:16
Think of this as a form of edited biology.
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12:18
This entire collection, Wanderers,
that was named after planets,
that was named after planets,
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这整套称为【漫游者】的
以各行星命名的系列服饰，
以各行星命名的系列服饰，
12:22
was not to me really about fashion per se,
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对我来说并不只是时尚本身，
12:25
but it provided an opportunity
to speculate about the future
to speculate about the future
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它还提供了一个机会，
让我们想象人类在地球甚至地球以外的未来。
12:29
of our race on our planet and beyond,
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12:31
to combine scientific insight
with lots of mystery
with lots of mystery
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以及进一步地
将科学视角和很多神秘事物结合。
将科学视角和很多神秘事物结合。
12:35
and to move away
from the age of the machine
from the age of the machine
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远离机器的时代，
12:38
to a new age of symbiosis
between our bodies,
between our bodies,
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进入一个新时代，让我们的身体，
12:42
the microorganisms that we inhabit,
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我们身边的微生物，
12:44
our products and even our buildings.
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我们的产品甚至我们的建筑可以共生。
12:46
I call this material ecology.
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我将此称为材料生态系统。
12:49
To do this, we always need
to return back to nature.
to return back to nature.
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要做到这一点，我们永远要回归到自然。
目前为止，你知道3D打印机
是一层层地打印材料的，
是一层层地打印材料的，
12:54
By now, you know that a 3D printer
prints material in layers.
prints material in layers.
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你也知道自然并非如此。
12:59
You also know that nature doesn't.
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13:02
It grows. It adds with sophistication.
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自然生物生长，用非常复杂的方式。
13:06
This silkworm cocoon, for example,
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比如这个蚕茧，
13:08
creates a highly
sophisticated architecture,
sophisticated architecture,
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一个高度复杂的结构，
13:12
a home inside which to metamorphisize.
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一个蚕在里面羽化的家。
13:14
No additive manufacturing today gets even
close to this level of sophistication.
close to this level of sophistication.
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今天没有任何增材制造
可以做到这种复杂的水平。
可以做到这种复杂的水平。
13:20
It does so by combining not two materials,
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这个蚕茧不是由两种材料组成，
13:23
but two proteins
in different concentrations.
in different concentrations.
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而是由不同浓度的两种蛋白组成。
13:27
One acts as the structure,
the other is the glue, or the matrix,
the other is the glue, or the matrix,
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一种做蚕茧的结构，
另一种充当粘合剂或是基质，
另一种充当粘合剂或是基质，
13:31
holding those fibers together.
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然后可以将这些纤维聚到一起，
13:33
And this happens across scales.
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它的规模可大可小。
这个蚕开始时将它自己附在环境上——
13:36
The silkworm first attaches itself
to the environment --
to the environment --
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13:39
it creates a tensile structure --
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创建一个有张力的结构——
13:41
and it then starts spinning
a compressive cocoon.
a compressive cocoon.
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然后它开始编织一个抗压的茧。
13:44
Tension and compression,
the two forces of life,
the two forces of life,
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张力和压力，生命的两种力量，
13:48
manifested in a single material.
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体现在一种材料中。
为了更好地
了解这个复杂的工程是如何运作的。
了解这个复杂的工程是如何运作的。
13:53
In order to better understand
how this complex process works,
how this complex process works,
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13:56
we glued a tiny earth magnet
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我们将一个小的磁铁
13:58
to the head of a silkworm,
to the spinneret.
to the spinneret.
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粘到蚕的头部，也就是吐丝头处。
14:01
We placed it inside a box
with magnetic sensors,
with magnetic sensors,
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我们将它放到有磁感应头的盒子里，
14:04
and that allowed us to create
this 3-dimensional point cloud
this 3-dimensional point cloud
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这样我们就可以绘制三维点云图像，
14:07
and visualize the complex architecture
of the silkworm cocoon.
of the silkworm cocoon.
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并且能观察到蚕茧的复杂构造。
然而当我们将它放在平板上，
14:13
However, when we placed
the silkworm on a flat patch,
the silkworm on a flat patch,
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14:17
not inside a box,
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而不是盒子里时，
14:19
we realized it would spin a flat cocoon
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我们发现它会编织一个平面的茧，
14:22
and it would still
healthily metamorphisize.
healthily metamorphisize.
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并且它仍然能健康地羽化。
14:25
So we started designing different
environments, different scaffolds,
environments, different scaffolds,
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所以我们开始设计
不同的环境，不同的支架，
不同的环境，不同的支架，
14:29
and we discovered that
the shape, the composition,
the shape, the composition,
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我们发现这些茧的形状、成分、结构
14:32
the structure of the cocoon, was directly
informed by the environment.
informed by the environment.
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都是直接受环境影响的。
14:36
Silkworms are often boiled to death
inside their cocoons,
inside their cocoons,
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蚕通常在茧里被煮沸而死，
14:41
their silk unraveled and used
in the textile industry.
in the textile industry.
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它们的蚕丝被解开用在纺织工业中。
14:44
We realized that designing these templates
allowed us to give shape to raw silk
allowed us to give shape to raw silk
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我们意识到设计这些模板
可以让我们塑造原始蚕丝的形状，
可以让我们塑造原始蚕丝的形状，
14:51
without boiling a single cocoon.
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不用煮沸任何一个茧。
14:54
(Applause)
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（掌声）
14:58
They would healthily metamorphisize,
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它们还能健康地羽化，
15:00
and we would be able
to create these things.
to create these things.
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而我们能创造这样的衣服。
15:03
So we scaled this process up
to architectural scale.
to architectural scale.
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我们将这个过程扩大到建筑规模。
15:07
We had a robot spin
the template out of silk,
the template out of silk,
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我们有一个机器人
用丝线编织了一个模板，
用丝线编织了一个模板，
15:10
and we placed it on our site.
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然后我们将它放到我们的工作场地。
15:12
We knew silkworms migrated
toward darker and colder areas,
toward darker and colder areas,
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我们知道蚕喜欢
迁移到黑暗和寒冷的地方，
迁移到黑暗和寒冷的地方，
15:17
so we used a sun path diagram
to reveal the distribution
to reveal the distribution
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所以我们用阳光路径图在这个结构上
15:20
of light and heat on our structure.
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显示光和热的分布。
15:23
We then created holes, or apertures,
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然后我们创建了一些孔，或者说是孔径
15:26
that would lock in the rays
of light and heat,
of light and heat,
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锁定光和热的射线，
15:29
distributing those silkworms
on the structure.
on the structure.
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决定蚕在这个结构上的分布。
我们准备好接收毛毛虫。
15:34
We were ready to receive the caterpillars.
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15:37
We ordered 6,500 silkworms
from an online silk farm.
from an online silk farm.
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我们从网上蚕丝农场订到6500只蚕，
喂养4周之后，它们开始为我们吐丝。
15:42
And after four weeks of feeding,
they were ready to spin with us.
they were ready to spin with us.
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15:45
We placed them carefully
at the bottom rim of the scaffold,
at the bottom rim of the scaffold,
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我们将它们小心翼翼地
放在支架的底部边缘，
放在支架的底部边缘，
15:49
and as they spin they pupate,
they mate, they lay eggs,
they mate, they lay eggs,
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它们在那里吐丝、羽化、交配、产卵，
15:53
and life begins all over again --
just like us but much, much shorter.
just like us but much, much shorter.
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然后重新开始新生命——
就像我们人类一样，但是过程短得多。
就像我们人类一样，但是过程短得多。
巴基．富勒说张力有十足的完整性，
16:00
Bucky Fuller said that tension
is the great integrity,
is the great integrity,
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16:05
and he was right.
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他是对的。
16:06
As they spin biological silk
over robotically spun silk,
over robotically spun silk,
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当它们在机器纺织的丝线上
进行生物纺织时，
进行生物纺织时，
16:10
they give this entire
pavilion its integrity.
pavilion its integrity.
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它们让整个建筑完整无缺。
16:13
And over two to three weeks,
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在经过两到三周时间后，
16:15
6,500 silkworms spin 6,500 kilometers.
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6500只蚕纺织了6500公里的丝线，
16:19
In a curious symmetry, this is also
the length of the Silk Road.
the length of the Silk Road.
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巧合的是，这也是丝绸之路的长度。
这些蛾在孵化后，
生产了150万颗蛋，
生产了150万颗蛋，
16:24
The moths, after they hatch,
produce 1.5 million eggs.
produce 1.5 million eggs.
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16:28
This could be used for 250
additional pavilions for the future.
additional pavilions for the future.
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这些蛋以后可以用来
创造另外250个临时建筑物。
创造另外250个临时建筑物。
这里是两种世界观，
16:33
So here they are, the two worldviews.
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16:36
One spins silk out of a robotic arm,
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一个通过机器臂膀编织丝线，
16:40
the other fills in the gaps.
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另一个填补其中的缝隙。
如果设计的最终边界是
16:44
If the final frontier of design
is to breathe life into the products
is to breathe life into the products
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16:47
and the buildings around us,
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在我们周边的产品或建筑中注入生命，
16:49
to form a two-material ecology,
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形成双材料的生态，
16:51
then designers must unite
these two worldviews.
these two worldviews.
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那么设计师必须结合这两种世界观。
16:55
Which brings us back, of course,
to the beginning.
to the beginning.
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当然，这让我们回到生命的起点。
这是设计的新时代、创造的新时代，
17:00
Here's to a new age of design,
a new age of creation,
a new age of creation,
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17:03
that takes us from
a nature-inspired design
a nature-inspired design
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将我们从启发于大自然的设计，
17:07
to a design-inspired nature,
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带到由设计唤醒的大自然。
17:09
and that demands of us for the first time
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而这将首次要求我们
17:13
that we mother nature.
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孕育大自然。
谢谢。
17:18
Thank you.
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17:19
(Applause)
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（掌声）
17:26
Thank you very much. Thank you.
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非常感谢，谢谢。
17:28
(Applause)
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（掌声）
ABOUT THE SPEAKER
Neri Oxman - Architect, designerFrom the micro scale to the building scale, Neri Oxman imagines and creates structures and objects that are inspired, informed and engineered by, for and with nature.
Why you should listen
Neri Oxman creates designs that usher the next building revolution by constructing products that transcend parts and assemblies. Head of the Mediated Matter research group at the MIT Media Lab, an architect and designer, she leads the search for ways in which digital fabrication technologies interact with natural environments and the biological world. Oxman’s approach, termed "Material Ecology," spans biology, computation, materials and digital fabrication. Her works are included in permanent collections in museums worldwide including the MoMA, Centre Pompidou, the Boston MFA and the Smithsonian Institution.
Neri Oxman | Speaker | TED.com