TED2005
Ross Lovegrove: Organic design, inspired by nature
Ross Lovegrove Organik Tasarimlari Paylasiyor
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Tasarimci Ross Lovegrove "yağsız" tasarim felsefesini belirtiyor ve siradisi tasarim urunlerini , ozellikle Ty Nant su sisesini ve Go sandalyesini, acikliyor.
Ross Lovegrove - Industrial designer
Known as "Captain Organic," Ross Lovegrove embraces nature as the inspiration for his "fat-free" design. Each object he creates -- be it bottle, chair, staircase or car -- is reduced to its essential elements. His pieces offer minimal forms of maximum beauty. Full bio
Known as "Captain Organic," Ross Lovegrove embraces nature as the inspiration for his "fat-free" design. Each object he creates -- be it bottle, chair, staircase or car -- is reduced to its essential elements. His pieces offer minimal forms of maximum beauty. Full bio
Double-click the English transcript below to play the video.
00:25
My name is Lovegrove. I only know nine Lovegroves,
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Benim adim Lovegrove. Sadece dokuz Lovegrove taniyorum,
00:28
two of which are my parents.
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bunlardan iki tanesi ebeveyinlerim.
00:30
They are first cousins, and you know what happens when, you know --
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Annem ve Babam 1. derece kuzenler, ve durum boyle olunca ne olur bilirsiniz, bilirsiniz--
00:35
so there's a terribly weird freaky side to me,
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yani benim berbat bir sekilde tuhafca garip bir tarafim var,
00:40
which I'm fighting with all the time. So to try and get through today,
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ki herzaman onunla savasiyorum. Bundan dolayi bugunun ustesinden gelebilmek icin,
00:44
I've kind of disciplined myself with an 18-minute talk.
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Kendi kendimi 18 dakikalik bir konusma ile disiplinledim.
00:48
I was hanging on to have a pee.
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Cisimi tutuyordum.
00:49
I thought perhaps if I was hanging on long enough,
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Dusundumki eger yeteri kadar tutabilirsem,
00:51
that would guide me through the 18 minutes.
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bu 18 dakikayi kullanmak icin kilavuzum olabilir.
00:54
(Laughter)
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(Gulusmeler)
00:56
Okay. I am known as Captain Organic,
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Peki. Ben Kaptan Organik olarak biliniyorum,
01:02
and that's a philosophical position as well as an aesthetic position.
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ve bu hem felsefik hemde estetik bir pozisyon.
01:07
But today what I'd like to talk to you about is that love of form
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Fakat bugun sizinle bicim sevgisi hakkinda konusmak istiyorum
01:11
and how form can touch people's soul and emotion.
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ve bicimin insanlarin ruhlarina ve duygularina nasil hitaab edebildiginden.
01:17
Not very long ago, not many thousands of years ago,
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Cok uzun zaman once degil, binlerce yil once degil,
01:22
we actually lived in caves,
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bizler aslinda magaralarda yasadik,
01:24
and I don't think we've lost that coding system.
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ve bana kalirsa halen daha o kodlama sistemini yitirmedik.
01:28
We respond so well to form,
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Bicime cok iyi tepki veriyoruz,
01:31
but I'm interested in creating intelligent form.
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fakat ben akilli bicimler yaratmakla ilgileniyorum.
01:33
I'm not interested at all in blobism
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Blobizmle hic bir sekilde ilgilenmiyorum
01:35
or any of that superficial rubbish that you see coming out as design.
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ya da tasarim olarak adlandirilan gercekustu molozlarla.
01:40
These -- this artificially induced consumerism -- I think it's atrocious.
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Bunlar -- sunni olarak baslatilmis tuketicilik -- bana kalirsa berbat.
01:45
My world is the world of people like
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Benim dunyam su insanlarin dunyasi gibi
01:47
Amory Lovins, Janine Benyus, James Watson.
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Amory Lovins, Janine Benyus, James Watson.
01:52
I'm in that world, but I work purely instinctively.
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Ben o dunyadayim, fakat ben tamamen icgusel olarak calisiyorum.
01:55
I'm not a scientist. I could have been, perhaps,
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Ben bir bilim adami degilim. Belkide olabilirdim,
01:58
but I work in this world where I trust my instincts.
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fakat ben icgudulerime guvendigim bir dunyada calisiyorum.
02:01
So I am a 21st-century translator of technology
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Yani ben 21. yuzyil teknoloji cevirmeniyim
02:08
into products that we use everyday and relate beautifully and naturally with.
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teknolojiyi gunluk olarak kullandigimiz urunlere ceviriyor ve guzel ve dogal bir sekilde iliskilendiriyorum.
02:13
And we should be developing things --
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Ve bizler birseyler gelistirmeliyiz--
02:15
we should be developing packaging for ideas which elevate people's perceptions
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fikirler icin paketleme gelistirmeliyiz ki insanlarin algilarini genisletebilmek
02:20
and respect for the things that we dig out of the earth
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ve yeryuzunden kazarak cikardigimiz materyallere saygi gosterebilmek
02:24
and translate into products for everyday use.
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ve onlari gunluk kullandigimiz materyallere cevirebilmek icin.
02:26
So, the water bottle.
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Evet, su sisesi.
02:28
I'll begin with this concept of what I call DNA.
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DNA (TDS) olarak adlandirdigim konsept ile baslayacagim.
02:31
DNA: Design, Nature, Art. These are the three things that condition my world.
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DNA (TDS): Tasarim, Doga, Sanat. Bunlar benim dunyami sekillendiren seyler.
02:36
Here is a drawing by Leonardo da Vinci,
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Bu Leonardo Da Vinci nin bir eseri,
02:39
500 years ago, before photography.
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500 yil once, fotograftan evvel.
02:41
It shows how observation, curiosity and instinct work to create amazing art.
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Gozlem, merak ve icgudunun inanilmaz sanati yaratmak icin nasil isledigini gosteriyor.
02:50
Industrial design is the art form of the 21st century.
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Endustriyel tasarim 21. yuzyilin sanat bicimi.
02:52
People like Leonardo -- there have not been many --
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Leonardo gibi insanlarin -- onlardan cok fazla olmadi --
02:56
had this amazingly instinctive curiosity.
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inanilmaz bir icgudusel meraklari vardi.
03:00
I work from a similar position.
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Ben buna benzer bir pozisyonda calisiyorum.
03:01
I don't want to sound pretentious saying that,
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Amacim bunu soyleyerek iddeali gorunmek degil,
03:03
but this is my drawing made on a digital pad a couple of years ago --
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fakat bu benim bir kacyil once dijital ortamda yapilmis cizimim --
03:07
well into the 21st century, 500 years later.
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21. yuzyilda, 500 yil sonra.
03:10
It's my impression of water.
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Bu suyun bende olusturdugu izlenim.
03:13
Impressionism being the most valuable art form on the planet as we know it:
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Izlenimcilik bu gezegendeki en degerli sanat dali bildigimiz gibi:
03:16
100 million dollars, easily, for a Monet.
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Monetin bir eseri kolayca 100 milyon dolar degerinde.
03:18
I use, now, a whole new process.
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Ben simdi yepyeni bir yontem kullaniyorum.
03:21
A few years ago I reinvented my process to keep up with people like
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Bir kac yil once yontemimi yeniden icat ettim,
03:23
Greg Lynn, Tom Main, Zaha Hadid, Rem Koolhaas --
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Greg Lynn, Tom Main, Zaha Hadid, Rem Koolhass-- gibi insanlara ayak uydurabilmek icin
03:27
all these people that I think are persevering and pioneering
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bana gore tum bu insanlar azimli ve oncu kisiler
03:30
with fantastic new ideas of how to create form.
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ve onlarin nasil bicim yaratilabilicagine dair olaganustu yeni fikirleri var.
03:34
This is all created digitally.
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Bu dijital ortamda yaratildi.
03:36
Here you see the machining, the milling of a block of acrylic.
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Burada makina ile yapilan islemi gorebilirsiniz, bir blok akriligin islenmesini.
03:39
This is what I show to the client to say, "That's what I want to do."
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Musterilere "bunu yapmak istiyorum" demek icin bunu gosteriyorum.
03:42
At that point, I don't know if that's possible at all.
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Bu noktada, bunun mumkun olup olmadigini dahi bilmiyorum.
03:45
It's a seductor, but I just feel in my bones that that's possible.
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Bastancikarici, ama sadece kemiklerimde bunun mumkun oldugunu biliyorum.
03:51
So we go. We look at the tooling. We look at how that is produced.
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Ve devam ediyoruz. Aletleri gozden geciriyoruz. Bunun nasil uretildigini gozlemliyoruz.
03:55
These are the invisible things that you never see in your life.
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Bunlar hayatinizda hic gormediginiz gorunmez seyler.
03:57
This is the background noise of industrial design.
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Bu endustriyel tasarimin arkaplandaki gurultuleri.
04:00
That is like an Anish Kapoor flowing through a Richard Serra.
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Bu bir Anish kapoor un bir Richard Serra uzerinden akmasi gibi.
04:04
It is more valuable than the product in my eyes. I don't have one.
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Gozlerimde olan urunden daha degerli. Ona sahip degilim.
04:07
When I do make some money, I'll have one machined for myself.
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Biraz para kazandigimda, kendime bundan bir tane yaptiracagim.
04:10
This is the final product. When they sent it to me, I thought I'd failed.
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Bu urunun son hali. Bana gonderdiklerinde , basarisiz oldugumu dusundum.
04:14
It felt like nothing. It has to feel like nothing.
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Hicbirseye benzemedigini hissettirdi. Hicbirsey gibi hissettirmesi gerekiyordu.
04:17
It was when I put the water in that I realized that I'd put a skin on water itself.
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Suyu icine koydugumda anladimki suya bir kilif gecirtmistim.
04:21
It's an icon of water itself,
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Suyun kendisinin bir ikonu,
04:23
and it elevates people's perception of contemporary design.
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ve insanlarin modern tasarima olan algilarini genisletiyordu.
04:27
Each bottle is different, meaning the water level will give you a different shape.
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Butun siseler degisik, bu su seviyesinin farkli bir sekil ortaya cikacagi anlamina geliyor.
04:31
It's mass individualism from a single product. It fits the hand.
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Bu tek bir urunden ortaya cikan kitlesel bireysellik. Sise ele uygun.
04:35
It fits arthritic hands. It fits children's hands.
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Arteritli ellere uygun. Cocuklarin ellerine uygun.
04:37
It makes the product strong, the tessellation.
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Bu urunu guclu kiliyor, farkli yuzeyleri acik birakmadan dodurabilmek.
04:39
It's a millefiori of ideas.
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Bu fikir cumbusu.
04:42
In the future they will look like that, because we need to move away
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Gelecekte boyle gorunecekler, cunku su anda kullanilan
04:46
from those type of polymers and use that for medical equipment
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polimerlerden uzak durmamiz gerekiyor ve onlari medikal malzemelerde
04:48
and more important things, perhaps, in life.
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ve belkide hayatta daha onemli seylerde kullanmamiz gerekiyor.
04:51
Biopolymers, these new ideas for materials,
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Biyo-polimerler, materyallar hakkindaki bu yeni fikirler,
04:54
will come into play in probably a decade.
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muhtemelen onumuzdeki on yil icerisinde oyuna dahil olacaklar.
04:56
It doesn't look as cool, does it?
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Bir onceki kadar iyi gorunmuyor, degil mi?
04:58
But I can live up to that. I don't have a problem with that.
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Fakat ben ben bununla yasayabilirim. Benim bununla bir problemim yok.
05:01
I design for that condition, biopolymers. It's the future.
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Ben bu durum icin tasarim yapiyorum, biyo-polimerler. Gelecek bu.
05:06
I took this video in Cape Town last year.
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Gecen yil Cape Town da bu videoyu kaydettim.
05:08
This is the freaky side coming out.
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Bu benim tuhaf tarafimin ortaya cikisi.
05:10
I have this special interest in things like this which blow my mind.
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Benim bunun gibi seylere ozel bir ilgim var ki beni affallatiyor.
05:14
I don't know whether to, you know, drop to my knees, cry;
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Dizcokup aglamamak istiyorum;
05:17
I don't know what I think. But I just know that nature improves
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ne dusunecegimi bilemiyorum. Fakat sadece doganin
05:25
with ever-greater purpose that which once existed,
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daha once var olan kenidinden daha buyuk bir amaca gelistigini biliyorum,
05:30
and that strangeness is a consequence of innovative thinking.
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ve bu tuhaflik yaratici dusunmenin bir sonucu.
05:33
When I look at these things, they look pretty normal to me.
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Bunlara baktigim zaman, bana normal gorunuyorlar.
05:36
But these things evolved over many years, and now what we're trying to do --
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Ama bunlar uzun yillar boyunca evrim gecirdiler, ve simdi bizim yapmaya calistigimiz sey --
05:39
I get three weeks to design a telephone.
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Ben telefon tasarlamak icin uc hafta ile kisitlaniyorum.
05:41
How the hell do I do a telephone in three weeks,
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Uc haftada nasil telefon tasarlayabilirim ki,
05:43
when you get these things that take hundreds of million years to evolve?
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ki bunlar yuzmilyonlarca yilda ortaya cikiyorlar.
05:47
How do you condense that?
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Bunu nasil kisa bir zamana sigdiririz?
05:48
It comes back to instinct.
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Icguduye geri donuyoruz.
05:50
I'm not talking about designing telephones that look like that,
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Buna benzeyen telefonlar tasarlamaktan bahsetmiyorum,
05:52
and I'm not looking at designing architecture like that.
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ve buna benzeyen mimari tasarlamayida dusunmuyorum.
05:55
I'm just interested in natural growth patterns,
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Sadece dogal gelisim paternleriyle ilgileyorum,
05:57
and the beautiful forms that only nature really creates.
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ve sadece doganin yaratabildigi guzel bicimlerle.
06:02
How that flows through me and how that comes out
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Bunun bende nasil bir izlenim yarattigi ve nasil ortaya ciktigi
06:04
is what I'm trying to understand.
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anlamaya calisiyorum.
06:06
This is a scan through the human forearm. It's then blown up through
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Bu insan kolunun filmi. Daha sonra
06:10
rapid prototyping to reveal the cellular structure. I have these in my office.
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Hucresel yesini orataya cikarmak icin Stereolitografi uygulandi. Bunlar benim ofisimde.
06:15
My office is a mixture of the Natural History Museum and a NASA space lab.
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Benim ofisim Dogal Tarih Muzesi ile NASA uzay laboratuvarinin bir karisimi.
06:20
It's a weird, kind of freaky place.
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Tuhaf, bir nevi korkunc bir yer.
06:23
This is one of my specimens.
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Bu orneklerimden bir tanesi.
06:25
This is made -- bone is made from a mixture of inorganic minerals and polymers.
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Bu uretildi -- kemik organik olmayan minerallerin ve polimerlerlerin bir karisimi.
06:33
I studied cooking in school for four years, and in that experience,
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Okuldayken dort yil boyunca ahcilik uzerine egitim aldim, ve bu deneyimden,
06:38
which was called "domestic science," it was a bit of a cheap trick
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"yerli bilim" diye adlandirilmisti, benim icin
06:40
for me to try and get a science qualification.
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bilim derecesi almaya calismak ucuz bir numaraydi.
06:43
(Laughter)
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(Gulusmeler)
06:45
Actually, I put marijuana in everything I cooked -- (Laughter)
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Aslinda, pisirdigim herseye esrar koydum -- (Gulusmeler)
06:49
-- and I had access to all the best girls. It was fabulous.
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-- ve en iyi kizlara ulasma imkanim vardi. Inanilmazdi.
06:51
All the guys in the rugby team couldn't understand, but anyway --
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Rugby takimindaki erkekler anlayamaz, ama herneyse --
06:54
this is a meringue. This is another sample I have.
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bu bir krema (mereng). Bu elimde olan diger ornek.
06:56
A meringue is made exactly the same way, in my estimation, as a bone.
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Tahminlerime gore beze (mereng) kemigin yapiminda kullanilan tipatip ayni yontemle yapiliyor.
07:00
It's made from polysaccharides and proteins.
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Polisakkaritler ve proteinlerden yapiliyor.
07:04
If you pour water on that, it dissolves.
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Eger uzerine su dokerseniz, cozunur.
07:06
Could we be manufacturing from foodstuffs in the future?
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Gelecekte yiyecek maddeleri uretebilir miyiz?
07:10
Not a bad idea. I don't know. I need to talk to Janine
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Kotu bir fikir degil. Bilemiyorum. Jannie ile konusmam lazim
07:12
and a few other people about that, but I believe instinctively
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ve bununla ilgili birkac kisiyle daha, fakat icgudusel olarak
07:16
that that meringue can become something, a car -- I don't know.
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Bezenin (mereng) birseye donusebilecegine inaniyorum, bir araba mesela -- bilemiyorum.
07:20
I'm also interested in growth patterns:
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Ayrica buyume paternleri ile ilgileniyorum:
07:22
the unbridled way that nature grows things so you're not restricted by form at all.
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doga bir seyleri dizginsizce buyutuyor boylece herhangi bir sekille kisitlanmiyorsunuz.
07:29
These interrelated forms, they do inspire everything I do
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Bunlar birbirleri ile alakali bicimler, benim yaptigim herseyin ilham kaynagi
07:33
although I might end up making something incredibly simple.
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bununla beraber sonunda sasirtici bir sekilde basit bir sey yapabilirim.
07:36
This is a detail of a chair that I've designed in magnesium.
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Bu magnezyumdan tasarladigim bir sandalyenin dataylandirilmasi.
07:40
It shows this interlocution of elements and the beauty of kind of engineering
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Elementlerin diyalogunu ve bir nevi muhendisligin
07:45
and biological thinking, shown pretty much as a bone structure.
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ve biyolojik duscenin guzelligini gosteriyor, kemik yapisi gibi gosteriliyor.
07:49
Any one of those elements you could sort of hang on the wall as some kind of art object.
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Buradaki herhangi bir elementi bir nevi sanat objesi olarak duvara asabilirsiniz.
07:53
It's the world's first chair made in magnesium.
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Bu magnezyumdan yapilmis dunyanin ilk sandalyesi.
07:56
It cost 1.7 million dollars to develop. It's called "Go" by Bernhardt, USA.
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Bunu gelistirmek 1.7 milyondolara mal oluyor. 'Bernhardt, ABD tarafindan "Go"' olarak adlandiriliyor.
08:01
It went into Time magazine in 2001
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Time dergisi tarafindan 2001 yilinda
08:05
as the new language of the 21st century.
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21. yuzyilin yeni dili olarak yayinlandi.
08:07
Boy. For somebody growing up in Wales in a little village, that's enough.
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(Saskinlik ifadesi). Gallerde kucuk bir koyde buyuyen biri icin, bu yeterli.
08:12
It shows how you make one holistic form, like the car industry,
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Nasil bir holistik bicim yapabileceginizi gosteriyor, araba endustrisi gibi,
08:15
and then you break up what you need.
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ve sonrasinda ihtiyaciniz olan seyi ortaya cikariyorsunuz.
08:17
This is an absolutely beautiful way of working.
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Bu kesinlikle calismanin guzel bir yolu.
08:19
It's a godly way of working.
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Tanrisal bir calisma bicimi.
08:21
It's organic and it's essential.
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Organik ve gerekli.
08:24
It's an absolutely fat-free design, and when you look at it,
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Bu kesinlikle "yagsiz" bir tasarim, ve ona baktiginizda,
08:26
you see human beings. Bless you.
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insanlari goruyorsunuz. Tanri sizi kutsasin.
08:29
When that moves into polymers, you can change the elasticity, the fluidity of the form.
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Polimerlere gelirsek, elastikligi degistirebilirsiniz, bicimin akiskanligini.
08:35
This is an idea for a gas-injected, one-piece polymer chair.
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Bu gaz enjekte edilmis bir parca polimer sandalye icin bir fikir.
08:39
What nature does is it drills holes in things. It liberates form.
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Doga hersyin icide delikler aciyor. Bu bicimi ozgurlestiriyor.
08:43
It takes away anything extraneous. That's what I do.
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Yabanci maddeleri elimine ediyor. Benim yaptigim bu.
08:46
I make organic things which are essential.
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Ben organik ve gerekli seyleri yapiyorum.
08:48
I don't -- and they look funky too -- but
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Ben -- ve biraz acayip gorunuyorlar -- fakat
08:51
I don't set out to make funky things because I think that's an absolute disgrace.
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Ben acayip seyler yapmak icin yola koyulmuyorum bana kalirsa bu kesinlikle utanc verici.
08:54
I set out to look at natural forms.
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Dogal bicimleri calismak icin yola koyuluyorum.
08:57
If you took the idea of fractal technology further, take a membrane,
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Fraktal teknoloji fikrini bir adim one tasirsaniz, hucre zarini ele alalim,
09:01
shrinking it down constantly like nature does --
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doganin yaptigi gibi surekli kucultursek --
09:04
that could be a seat for a chair;
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bu bir sandalye icin otuma yuzeyi olabilir ;
09:05
it could be a sole for a sports shoe;
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spor ayakkabisi icin ayakkabi icligi olabilir;
09:07
it could be a car blending into seats.
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koltuklarina karisan bir araba olabilir.
09:10
Wow. Let's go for it. That's the kind of stuff.
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Vav (Sasirma ifadesi). Hadi bunu yapalim. Bu istedigimiz sey.
09:13
This is what exists in nature. Observation now allows us to
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Bu dogada var olan sey. Gozlem
09:17
bring that natural process into the design process every day. That's what I do.
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dogal surecleri tasarim islemlerine uyarlamamiza izin veriyor. Benim yaptigim sey bu.
09:22
This is a show that's currently on in Tokyo.
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Bu su an Tokyoda halen suren bir sergi.
09:25
It's called "Superliquidity." It's my sculptural investigation.
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"Superakiskanlik" olarak adlandiriliyor. Bu benim heykele dair olan arastirmam.
09:28
It's like 21st-century Henry Moore. When you see a Henry Moore
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Bu 21. yuzyil Henry Moore'u gibi. Henry Moore'u gordugunuzde
09:32
still, your hair stands up. There's some amazing spiritual connect.
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halen daha, urperirsiniz. Inanilmaz bir mistik baglanma soz konusu.
09:37
If he was a car designer, phew, we'd all be driving one.
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Kendisi bir araba tasarimcisi olsaydi, Hih, bizler birer tane kullniyor olurduk.
09:41
In his day, he was the highest taxpayer in Britain.
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Zamaninda, Britanyadaki vergi rekortmeniydi.
09:44
That is the power of organic design.
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Bu organik tasarimin gucu.
09:47
It contributes immensely to our sense of being,
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Muazzam bir sekilde varolusumuza katkida bulunuyor.
09:53
our sense of relationships with things,
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Esya ile olan iliski algimiza,
09:55
our sensuality and, you know, the sort of --
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duygusalligimiza ve, bilirsiniz, bir nevi --
09:57
even the sort of socio-erotic side, which is very important.
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hatta sosyo-erotik tarafimiza, ki cok onemli.
10:01
This is my artwork. This is all my process.
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Bu benim sanatsal calismam. Bu benim yontemim.
10:04
These actually are sold as artwork.
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Bunlar aslinda satilmis sanat eserleri.
10:06
They're very big prints. But this is how I get to that object.
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Cok buyuk ebatta basimlar. Fakat ben o objeye bu sekilde ulasiyorum.
10:10
Ironically, that object was made by the Killarney process,
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Ironik bir sekilde, O obje Kilarney yontemi ile yapildi,
10:14
which is a brand-new process here for the 21st century,
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21. yuzyil icin yepyeni bir yontem,
10:16
and I can hear Greg Lynn laughing his socks off as I say that.
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ve ben bunu soylerken Geg Lynin gulmekten yere yattigini duyabiliyorum.
10:19
I'll tell you about that later.
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Bunu daha sonra aciklayacagim.
10:21
When I look into these data images, I see new things.
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Bu bilgi resimlerine baktigim zaman, ben yeni seyler goruyorum.
10:27
I'm self -- it's self-inspired. Diatomic structures, radiolaria,
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Ben kendi -- bu kendi kendine ilhamlanmis. Cift atomlu yapilar, radyolarya,
10:31
the things that we couldn't see but we can do now --
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Simdi goremedigimiz ama yapabildigimiz seyler --
10:33
these, again, are cored out. They're made virtually from nothing.
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bunlar, yeniden, yeryuzunden geliyor. Bunlar gorunurde hicbirseyden meydana gelmis.
10:36
They're made from silica. Why not structures from cars like that?
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Bunlar silisyumdan yapilmis. Arabalarda kullanilan yapilar neden boyle degiler?
10:41
Coral, all these natural forces, take away what they don't need
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Mercan, butun bu dogasal gucler, islerine yaramayan seyleri ayitlayin
10:46
and they deliver maximum beauty.
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ve onlar maksimum guzelliklerini sergileyecekler.
10:49
We need to be in that realm. I want to do stuff like that.
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Bizler bu algida olmaliyiz. Ben boyle seyler yapmak istiyorum.
10:53
This is a new chair which should come on the market in September.
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Bu Eylulde satisa cikacak olan yeni bir sandalye.
10:56
It's for a company called Moroso in Italy.
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Italyada bulunan Moroso adli bir sirket icin.
10:58
It's a gas-injected polymer chair.
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Bu Gaz enjekte edilmis polimer bir sandalye.
11:00
Those holes you see there are very filtered-down,
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Gordugunuz delikler mumkun oldugunca kucultulmustur
11:03
watered-down versions of the extremity of the diatomic structures.
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cift atomlu yapilarin gucunun yumusatilmis hali.
11:07
It goes with the flow of the polymer and you'll see --
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Polimerin akisiyla beraber gidiyor ve goreceksiniz--
11:10
there's an image coming up right now that shows the full thing.
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bir sonraki resim butununu gosteriyor.
11:13
It's great to have companies in Italy who support this way of dreaming.
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Bu yontemle hayal kurmayi destekleyen sirketlerin Italyada olmasi cok guzel.
11:17
If you see the shadows that come through that,
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Bundan suzulen golgeleri gozlemlerseniz,
11:19
they're actually probably more important than the product,
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aslinda golgeler urunun kendisinden cok daha onemli,
11:21
but it's the minimum it takes.
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fakat bu asgari limit.
11:23
The coring out of the back lets you breathe.
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Arkasindan parca cikarilmis olasi sizin nefes almanizi sagliyor.
11:25
It takes away any material you don't need
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Ihtiyaciniz olmayan materyali cikartiyor
11:27
and it actually garners flexure too, so --
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ve aslinda ekolarak esneklik depoluyor, yani --
11:31
I was going to break into a dance then.
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Ozaman birden dans etmeye baslayacaktim.
11:34
This is some current work I'm doing.
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Bu su anda uzerinde calistigim bir proje.
11:36
I'm looking at single-surface structures and how they flow --
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Tek-yuzeyli yapilarla ilgileniyorum ve onlarin dokulariyla --
11:39
how they stretch and flow. It's based on furniture typologies,
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dokularina ve nasil esnediklerine. Mobilya topolojilerine dayandiriliyor,
11:43
but that's not the end motivation. It's made from aluminum,
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fakat bu tek motivasyon degil. Bu aliminyumdan yapilmis,
11:50
as opposed to aluminium, and it's grown.
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Aliminyumun aksine bu buyumus (yetistirilmis).
11:53
It's grown in my mind, and then it's grown in terms of
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Bu benim dusunce dunyamda yetistirildi, ve sonrasinda
11:56
the whole process that I go through.
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benim izledigim dusunce yontemini izleyerek yetistirildi.
11:59
This is two weeks ago in CCP in Coventry, who build parts for Bentleys and so on.
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Bu iki hafta once CCP Coventry de, Bentley icin parca ureten yer ve
12:04
It's being built as we speak,
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bu biz konustukca uretildi,
12:06
and it will be on show in Phillips next year in New York.
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ve gelecek yil New York Philips de sergilenecek.
12:09
I have a big show with Phillips Auctioneers.
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Philips Auctioneers de buyuk bir sergim var.
12:12
When I see these animations, oh Jesus, I'm blown away.
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Aman tanrim, animasyonlari gordugumde aklim basimdan gidiyor.
12:15
This is what goes on in my studio everyday. I walk -- I'm traveling. I come back.
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Bu benim studyodaki gunluk rutinim. Yuruyorum -- yolculuk yapiyorum. Geri donuyorum.
12:19
Some guy's got that on a computer -- there's this like, oh my goodness.
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Birileri bunu bilgisayara almis -- bu, aman tanrim.
12:22
So I try to create this energy of invention every day in my studio.
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Yani bu innovasyon enerjisini hergun studyoda yaratmaya calisiyorum.
12:26
This kind of effervescent, fully charged sense of soup that delivers ideas.
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Bu tur enerjik ve tamamen dolu bir duygu karmasasi fikir uretebilir.
12:33
Single-surface products. Furniture's a good one.
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Tek-yuzeyli urunler. Ev esyasi guzel bir ornek.
12:37
How you grow legs out of a surface.
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Tek yuzeyden nasil ayaklari uretebilirsiniz.
12:40
I would love to build this one day, and perhaps I'd like to build it also
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Bunu bir gun uretebilmek isterim, ve belkide bunu
12:42
out of flour, sugar, polymer, wood chips --
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undan, sekerden, polimerden, odun kiymiklarindan uretebilirim --
12:47
I don't know, human hair. I don't know. I'd love a go at that.
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Bilemiyorum, insan sac. Bilemiyorum. Bunu denemek isterim.
12:49
I don't know. If I just got some time.
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Bilemiyorum. Eger biraz zamanim olursa.
12:51
That's the weird side coming out again,
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Bu garip olan tarafimin ortaya cikisi yine,
12:53
and a lot of companies don't understand that.
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ve bircok sirket bunu anlayamiyor.
12:55
Three weeks ago I was with Sony in Tokyo. They said, "Give us the dream.
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Uc hafta once Tokyoda, Sony sirketindeydim. Bana soyle dediler, " Bize bir hedef (hayal) ver.
12:59
What is our dream? How do we beat Apple?"
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Bizim hedefimiz ne? Apple markasini nasil alt ederiz?"
13:01
I said, "Well you don't copy Apple, that's for sure."
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Ben soyle dedim, " Kesin olan birsey var, Apple markasini kopyalamayin."
13:03
I said, "You get into biopolymers." They looked straight through me.
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Soyle soyledim, " Biyo-polimer isine girmelisiniz." Beni dikkate almadilar.
13:08
What a waste. Anyway. (Laughter)
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Kendileri kaybeder. Herneyse. (Gulusmeler)
13:11
No, it's true. Fuck 'em. Fuck 'em. You know, I mean.
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Hayir, gercekten. S.kt.redin.
13:14
(Laughter)
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(Gulusmeler)
13:16
I'm delivering; they're not taking. I've had this image 20 years.
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Ben oneride bulunuyorum, onlar dikkate oalmiyorlar. Bu fikiri 20 yildir tasiyorum.
13:19
I've had this image of a water droplet for 20 years sitting on a hot bed.
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Su damlasi fikiri 20 yildir orada.
13:23
That is an image of a car for me.
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Bu benim icin bir araba fikiri (sekili).
13:25
That's the car of the future. It's a water droplet.
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Bu gelecegin arabasi. Bu bir su damlasi.
13:27
I've been banging on about this like I can't believe.
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Bunun hakkinda inanamayacagim bir sekilde avaz avaz bagiriyorum.
13:29
Cars are all wrong.
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Butun arabalar yanlis.
13:31
I'm going to show you something a bit weird now.
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Simdi sizlere biraz tuhan bir sey gosterecegim.
13:33
They laughed everywhere over the world I showed this.
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Dunyada bunu gosterdigim heryerde uzerime gulduler.
13:35
The only place that didn't laugh was Moscow.
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Gulunmeyen tek yer Moskova oldu.
13:37
Its cars are made from 30,000 components.
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Arabalari 30,000 parcadan yapiliyor.
13:40
How ridiculous is that? Couldn't you make that from 300?
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Bu nekadar sacma. 300 parcadan yapmak mumkun degil mi?
13:46
It's got a vacuum-formed, carbon-nylon pan. Everything's holistically integrated.
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Karbon-naylon dan olusan vakkumlama teknigi kullanilarak yapilmis bir dis yuzeyi var. Her bir parca bir butun gibi integre edilmis.
13:50
It opens and closes like a bread bin.
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Tipki ekmek kutusu gibi acilip kapaniyor.
13:52
There is no engine. There's a solar panel on the back,
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Motor yok. Arkasinda bir gunes enerjisi paneli var,
13:54
and there are batteries in the wheels.
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ve tekerleklerde bateriler.
13:56
They're fitted like Formula One. You take them off your wall.
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Bateri ve tekerlekler Formula1 arabalari gibi integre edilmis. Onlari duvarinizdan alip,
13:58
You plug them in. Off you jolly well go.
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arabaya takabilirsiniz. Gitmeye hazirsiniz.
14:00
A three-wheeled car: slow, feminine, transparent,
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Uc tekerlekli bir araba: yavas, feminen, seffaf,
14:04
so you can see the people in there. You drive different.
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icindeki insanlari gorebilirsiniz. Arabayi durme sekliniz degisir.
14:06
(Laughter)
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(Gulusmeler)
14:07
You see that thing. You do.
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Simdi bunu gorusyorsunuz. Goruyorsunuz.
14:09
You do and not anaesthetized, separated from life.
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Goruyorsunuz ve bu anestezi edilmemis, hayattan ayrilmamis.
14:12
There's a hole at the front, and there's a reason for that.
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Onunde bir delik var, ve bunun bir nedeni var.
14:15
It's a city car. You drive along. You get out.
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Bu bir sehir arabasi. Arabayi sureceksiniz.Arabayi birakacaksiniz.
14:19
You drive on to a proboscis. You get out. It lifts you up.
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Arabanin anteni (kazigi) uzerinde sureceksiniz. Disariya cikacaksiniz. Sizi yukariya kaldiracak.
14:24
It presents the solar panel to the sun,
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Solar paneli gunese dogru cevirecek.
14:26
and at night it's a street lamp.
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ve geceleri yol lambasi.
14:28
(Applause)
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(Alkislar)
14:32
That's what happens if you get inspired by the street lamp first,
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Eger yol lambasindan ilham alirsaniz once ortaya bu cikiyor,
14:34
and then do the car second. These bubbles --
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ve sonrada araba. Bu baloncuklar--
14:36
I can see these bubbles with these hydrogen packages,
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Ben bu baloncuklari bu hidrojen paketleriyle gorebiliyoruz,
14:39
floating around on the ground driven by AI.
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yerde dolasiyor, AI ile suruluyor.
14:44
When I showed this in South Africa,
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Guney Afrikada bunu gosterdigim zaman,
14:45
everybody after was going, "Yeah, hey, car on a stick. Like this."
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herkes soyle diyordu, "Evet, hey, kazik uzerinde araba. Bunun gibi."
14:48
Can you imagine? A car on a stick.
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Hayal edebiliyor musunuz? Kazik uzerinde araba.
14:51
If you put it next to contemporary architecture,
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Eger bunu modern bir mimarinin yanina koyarsaniz,
14:54
it feels totally natural to me.
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bana tamamen dogal hissi veriyor.
14:56
And that's what I do with my furniture.
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Ve bu benim mobilya ile yaptigim.
14:57
I'm not putting Charles Eames' furniture in buildings anymore.
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Artik binalarin icine Charles Eamesin mobilyalarini koymuyorum.
14:59
Forget that. We move on.
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Onu unutun. Biz onu geride birakiyoruz.
15:01
I'm trying to build furniture that fits architecture.
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Ben mimariye uygun mobilya yapmaya calisiyorum.
15:03
I'm trying to build transportation systems.
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Ben ulasim sistemleri yapmaya calisiyorum.
15:05
I work on aircraft for Airbus, the whole thing --
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Ucaklar ya da hva otobusleri uzerine calisiyorum, butunu--
15:07
I do all this sort of stuff trying to force these natural,
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Ben bunun gibi seyleri dogalligi vurgulamaya calissarak yapiyorum,
15:11
inspired-by-nature dreams home. I'm going to finish on two things.
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dogadan ilham alinarak kurgulanan ev. Iki sey uzerine bitirecegim.
15:14
This is the steriolithography of a staircase.
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Bu bir merdivenin stereolitografisi.
15:17
It's a little bit of a dedication to James, James Watson.
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Bu biraz James, James Watsona, ithaf edildi.
15:22
I built this thing for my studio.
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Bunu studyom icin urettim.
15:23
It cost me 250,000 dollars to build this.
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Bana 250,000 dolara mal oldu.
15:27
Most people go and buy the Aston Martin. I built this.
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Bir cok insan Aston Martin alir. Ben bunu insa ettim.
15:31
This is the data that goes with that. Incredibly complex.
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Bu merdivenin datasi. Inanilmaz derecede kompleks.
15:34
Took about two years, because I'm looking for fat-free design.
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Yaklasik iki yil surdu, cunku ben yagsiz bir tasarim ariyorum.
15:38
Lean, efficient things. Healthy products.
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Dayanikli, verimli seyler. Saglikli urunler.
15:42
This is built by composites. It's a single element
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Bu kompozitler kullanilarak uretildi. Bu tek bir element
15:45
which rotates around to create a holistic element,
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holistik bir element yaratmak icin etrafinda donuyor,
15:48
and this is a carbon-fiber handrail
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ve bu bir karbon-fiber korkuluk,
15:50
which is only supported in two places.
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sadece iki noktadan destekleniyor.
15:52
Modern materials allow us to do modern things.
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modern materyaller, modern seyler yapmamiza firsat veriyor.
15:54
This is a shot in the studio.
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Bu studyodan bir kare.
15:56
This is how it looks pretty much every day.
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Bu hemen hemen hergun nasil gorundugu.
15:59
You wouldn't want to have a fear of heights coming down it.
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Yukseklik korkusunun bunun uzerine gelmesini istemezsiniz.
16:02
There is virtually no handrail. It doesn't pass any standards.
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Gorunurde hic korkuluk yok. Kurallara uygun degil.
16:06
(Laughter)
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(Gulusmeler)
16:08
Who cares?
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Kimin umurunda?
16:10
(Laughter)
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(Gulusmeler)
16:11
Yeah, and it has an internal handrail which gives it it's strength. It's this holistic integration.
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Evet, ve icerisinde bir korkuluk var ve bu onu saglanm kiliyor. Bu holistik integrasyon.
16:14
That's my studio. It's subterranean.
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Bu benim calisma ofisim. Bu yeraltinda.
16:17
It's in Notting Hill next to all the crap --
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Nothing Hillde pisligin yaninda --
16:19
you know, the prostitutes and all that stuff.
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bilirsiniz, fahiseler ve daha bir cok sey.
16:21
It's next to David Hockney's original studio.
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David Hockneyin orijinal calisma ofisinin yan tarafinda.
16:23
It has a lighting system that changes throughout the day.
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Gun boyunca degisen bir aydinlanma sistemi var.
16:26
My guys go out for lunch. The door's open. They come back in,
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Calisanlarim oglen yemegi icin disariya gidiyorlar. Kapi acik. Iceriye geliyorlar,
16:28
because it's normally raining, and they prefer to stay in.
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Cunku normalde yagmur yagiyor, ve onlar iceride kalmayi tercih ediyorlar.
16:31
This is my studio. Elephant skull from Oxford University, 1988.
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Bu benim calisma ofisim. Oxford universitesinden fil kafatasi, 1988.
16:35
I bought that last year. They're very difficult to find.
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Bunu gecen yil aldim. Bunlari bulmak cok zor.
16:37
I would -- if anybody's got a whale skeleton they want to sell me,
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Alirim -- eger birilerinin bana satmak istedigi bir balina iskeleti varsa,
16:40
I'll put it in the studio.
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calisma ofisime koyacagim.
16:42
So I'm just going to interject a little bit
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Simdi sadece biraz bolecegim
16:45
with some of the things that you'll see in the video.
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videoda goreceginiz bir takim seylerle.
16:47
It's a homemade video, made it myself at three o'clock in the morning
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Bu ev yapimi bir video, bunu sabah saat ucte kendim yaptim.
16:51
just to show you how my real world is. You never see that.
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sadece benim gercek dunyami size gosterebilmek icin. Bunu asla goremezsiniz.
16:54
You never see architects or designers showing you their real world.
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Mimarlarin ya da tasarimcilarin gercek dunyalarini asla goremezsiniz.
16:57
This is called a "Plasnet."
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Bu "Plasnet" olarak adlandiriliyor.
16:59
It's a bio-polycarbonate new chair I'm doing in Italy.
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Bu Italyada yaptigim yeni biyo-polikarbonat sandalye.
17:03
World's first bamboo bike with folding handlebars.
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Dunyanin ilk katlanabilir direksiyonlu bambu bisikleti.
17:06
We should all be riding one of these.
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Hepimizin birtane bunlardan kullaniyor olmasi gerekir.
17:07
As China buys all these crappy cars,
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Cin bu kotu arabalari alirken,
17:09
we should be riding things like this. Counterbalance.
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bizim bunlara benzer seyleri kullaniyor olmamiz lazim. Denge.
17:14
Like I say, it's a cross between Natural History Museum and
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Soyledigim gibi, Bu bir gecis, Dogal Tarih muzesi ile
17:16
a NASA laboratory. It's full of prototypes and objects.
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bir nasa labaratuvari arasinda. Bu tamamen prototipler ve objelerle dolu.
17:21
It's self-inspirational again. I mean, the rare times when I'm there,
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Bu yine ilham verici, yani, benim orada oldugum nadir zamanlarda,
17:24
I do enjoy it. And I get lots of kids coming --
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ben bundan zevkaliyorum. Ve bircok cocuklar ziyaret ediyor--
17:28
lots and lots of kids coming.
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cokfazla cocuk geliyor.
17:30
I'm a contaminator for all those children of investment bankers -- wankers.
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Ben bankerlerin -- zuppelerin cocuklarinin beyin yikalyicisiyim.
17:35
This -- sorry -- (Laughter)
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Bu -- pardon -- (gulusmeler)
17:38
-- that's a solar seed. It's a concept for new architecture.
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--bu bir solar tohum. Bu yeni bir mimari icin konsept.
17:41
That thing on the top is the world's first solar-powered garden lamp --
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En tepedeki sey Dunyanin ilk gunes enerjisi kullanan bahce lambasi --
17:45
the first produced. Giles Revell should be talking here today --
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ilk uretilen. Giles Revell bugun buraya getirecek --
17:49
amazing photography of things you can't see.
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goremediginiz seylerin inanilmaz fotograflari.
17:51
The first sculptural model I made for that thing in Tokyo.
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Tokyodaki sey icin yaptigim ilk heykelsi model.
17:58
Lots of stuff. There's a little leaf chair -- that golden looking thing is called "Leaf."
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Bircok sey. Kucuk bir yaprak sandalye -- altin gibi gorunen sey "yaprak" olarak adlandiriliyor.
18:01
It's made from Kevlar.
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Kevlardan yapildi.
18:03
On the wall is my book called "Supernatural,"
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Duvarda benim kitabim 'Dogaustu,'
18:06
which allows me to remember what I've done, because I forget.
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benim neler yaptigimi hatirlamama yardimci oluyor, cunku unutuyorum.
18:08
There's an aerated brick I did in Limoges last year,
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Gecen yil Limogeste yaptigim hava kabarcikli tugla var,
18:11
in Concepts for New Ceramics in Architecture.
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Mimari icin Yeni Seramik Konseplerinde.
18:17
[Unclear], working at three o'clock in the morning --
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[Belirsiz], sabah ucte calisirken,
18:20
and I don't pay overtime.
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ve fazla mesai odemem.
18:22
Overtime is the passion of design, so join the club or don't. (Laughter)
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Fazla mesai tasarim icin tutku, ister katilirsiniz ister katilmaz. (Gulusmeler)
18:29
No, it's true. It's true. People like Tom and Greg --
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Hayir, bu dogru. Bu dogru. Tom ve Greg gibi insanlar --
18:31
we're traveling like you can't -- we fit it all in. I don't know how we do it.
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biz sizin yapamayacaginiz gibi yolculuk yapiyoruz -- biz herseyi sigdiriyoruz. Nasil yaptigimizi bilmiyorum.
18:36
Next week I'm at Electrolux in Sweden,
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Gelecek hafta Isvecte Elextroluxteyim.
18:38
then I'm in Beijing on Friday. You work that one out.
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Sonra cuma Pekinde. Bunu siz ayarlayin.
18:41
And when I see Ed's photographs I think,
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Ve Edin fotograflarini gordugumde bence,
18:43
why the hell am I going to China? It's true.
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neden Cine gidiyorum? Bu dogru.
18:46
It's true. Because there's a soul in this whole thing.
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Bu dogru. Cubku bunun tumunde bir ruh var.
18:49
We need to have a new instinct for the 21st century.
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21. yuzyil icin yeni bir icgudumuz olmali.
18:53
We need to combine all this stuff.
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Bizim bunu birlestirmemiz gerekiyor.
18:55
If all the people who were talking over this period
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Eger bu periyodda konusan insanlarin hepsi
18:57
worked on a car together, it would be a joy, absolute joy.
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hepbraber bir araba uzerine calisiyor olsaydi, bu bir zevk olurdu, tamamiyla zevk.
19:03
So there's a new X-light system I'm doing in Japan.
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Evet Japonyada yeni bir X-isini sistemi yapiyorum.
19:07
There's Tuareg shoes from North Africa. There's a Kifwebe mask.
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Kuzey Afrikada Tuareg ayakkabilari var. Kifbewe maskesi var.
19:12
These are my sculptures.
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Bunlar benim heykellerim.
19:14
A copper jelly mold.
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Bakir bir jel kalibi.
19:18
It sounds like some quiz show or something, doesn't it?
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kulaga kucuk sinav sovu gibi geliyor, degil mi?
19:22
So, it's going to end.
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Evet, bitecek.
19:26
Thank you, James, for your great inspiration.
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Tesekkurler, James, inanilmaz ilhamin icin.
19:34
Thank you very much.
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Cok tesekkur ederim.
19:36
(Applause)
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(Alkis)
ABOUT THE SPEAKER
Ross Lovegrove - Industrial designerKnown as "Captain Organic," Ross Lovegrove embraces nature as the inspiration for his "fat-free" design. Each object he creates -- be it bottle, chair, staircase or car -- is reduced to its essential elements. His pieces offer minimal forms of maximum beauty.
Why you should listen
Ross Lovegrove is truly a pioneer of industrial design. As founder of Studio X in the Notting Hill area of London, the Welsh-born designer has exuberantly embraced the potential offered by digital technologies. However, he blends his love of high tech with a belief that the natural world had the right idea all along: Many of his pieces are inspired by principles of evolution and microbiology.
Delightedly crossing categories, Lovegrove has worked for clients as varied as Apple, Issey Miyake, Herman Miller and Airbus, and in 2005 he was awarded the World Technology Award for design. His personal artwork has been exhibited at MoMA in New York, the Pompidou Centre in Paris and the Design Museum in London. Lovegrove's astonishing objects are the result of an ongoing quest to create forms that, as he puts it, touch people's soul.
Ross Lovegrove | Speaker | TED.com