RossLovegrove_分享有机设计【中英文对照】

1.My name is Lovegrove. I only know nine Lovegroves, two of which are my parents.
我姓 Lovegrove。我只认识九个姓 Lovegrove 的， 其中两个是我父母。
2.They are first cousins, and you know what happens when, you know — so there’s a terribly weird freaky side to me, which I’m fighting with all the time. So to try and get through today,
他们是四等血亲, 因此你知道出了什么事, 你知道的 因此我有极端怪异可怕的一面， 我一直为这争扎不已。为了今天顺利,
3.I’ve kind of disciplined myself with an 18-minute talk.
我试着约束自己做好一个 18 分钟的演讲。
4.I was hanging on to have a pee.
我忍着不去上厕所。
5.I thought perhaps if I was hanging on long enough, that would guide me through the 18 minutes.
我想也许如果我忍得够久， 我将可以控制在 18 分钟内讲完。
6.(Laughter) Okay. I am known as Captain Organic, and that’s a philosophical position as well as an aesthetic position.
（笑声） 好吧。我被称为「有机队长」， 这个称号既有哲学味道又有美学意思。
7.But today what I’d like to talk to you about is that love of form and how form can touch people’s soul and emotion.
但是今天我想要讲的是我对形态的爱好， 以及形态如何感动人的灵魂和情绪。
8.Not very long ago, not many thousands of years ago, we actually lived in caves, and  I don’t think we’ve lost that coding system.
不久以前，只是几千年前， 我们实际是住在洞穴里的， 我不认为我们已经丧失了那个生存密码。
9.We respond so well to form, but I’m interested in creating intelligent form.
我们对形态有很好的反应， 但我感兴趣的是创造智慧的形态。
10.I’m not interested at all in blobism or any of that superficial rubbish that you see coming out as design.
我对于流体造形主义不感兴趣， 或那些被「设计」出来的肤浅的废物。
11.These — this artificially induced consumerism — I think it’s atrocious.
这些人为诱导的消费主义, 我觉得很讨厌。
12.My world is the world of people like Amory Lovins, Janine Benyus, James Watson.
我的世界是像 Amory Lovins，Janine Benyus，詹姆士?华生的世界。
13.I’m in that world, but I work purely instinctively.
我属于那个世界，但我全凭直觉工作。
14.I’m not a scientist. I could have been, perhaps, but I work in this world where I trust my instincts.
我不是科学家。或许曾经我能成为科学家， 但我在我能信赖直觉的世界中工作。
15.So I am a 21st-century translator of technology into products that we use every day and relate beautifully and naturally with.
所以我是 21 世纪的科技翻译者 醉心于将我们每日使用的商品与美及自然连结在一起。
16.And we should be developing things — we should be developing packaging for ideas which elevate people’s perceptions and respect for the things that we dig out of the earth
我们必须发展事物 我们必须为创意发展造形, 来提升人们的知觉 并尊敬我们取之于地球的事物
17.and translate into products for everyday use.
将它转换为日常生活用品。
18.So, the water bottle.
那么，看看水瓶。
19.I’ll begin with this concept of what I call DNA.
我将用这个我称为 DNA 的概念起头。
20.DNA: design, nature, art. These are the three things that condition my world.
DNA 是指设计、自然、艺术。这三件事限定了我的世界。
21.Here is a drawing by Leonardo da Vinci, 500 years ago, before photography.
这是一张李奥纳多?达芬奇的绘画， 画在五百年前，摄影术发明之前。
22.It shows how observation, curiosity and instinct work to create amazing art.
它显示了观察、好奇及直觉如何创造出神奇的艺术。
23.Industrial design is the art form of the 21st century.
工业设计是 21 世纪的艺术形式。
24.People like Leonardo — there have not been many — had this amazingly instinctive curiosity.
像李奥纳多这样的人 — 虽然为数不多 都有这种惊人的好奇心本能。
25.I work from a similar position.
我也以相似的立场工作。
26.I don’t want to sound pretentious saying that, but this is my drawing made on a digital pad a couple of years ago — well into the 21st century, 500 years later.
我不想让人觉得我是自夸， 但这是几年前我用数字板作的画 — 在五百年后的 21 世纪中。
27.It’s my impression of water.
这是我对水的印象。
28.Impressionism being the most valuable art form on the planet as we know it: 100 million dollars, easily, for a Monet.
印象派是地球上最有价值的艺术形式： 一张莫奈的画动辄一亿美元。
29.I use, now, a whole new process.
现在我用全新的程序。
30.A few years ago I reinvented my process to keep up with people like Greg Lynn, Tom Main, Zaha Hadid, Rem Koolhaas — all these people that I think are persevering and pioneering
几年前我再次发明了我的程序而跟上像 Greg Lynn, Tom Main, Zaha Hadid, Rem Koolhaas 我认为这些人都坚持保持并开拓
31.with fantastic new ideas of how to create form.
以奇妙的新想法来创造形态。
32.This is all created digitally.
这全是用数码方式创造出来的。
33.Here you see the machining, the milling of a block of acrylic.
这里你看到加工方法，压克力块的车削。
34.This is what I show to the client to say, “That’s what I want to do.”
我秀给客户看这个，告诉他：「这就是我要做的。」
35.At that point, I don’t know if that’s possible at all.
那时我一点都不知道这是否可行。
36.It’s a seductor, but I just feel in my bones that that’s possible.
那是个诱惑人的东西，而在我骨子里相信那是可能的。
37.So we go. We look at the tooling. We look at how that is produced.
因此我们开始。我们找机具，看要如何制造。
38.These are the invisible things that you never see in your life.
这些是你一生中看不到的无形事物。
39.This is the background noise of industrial design.
这是工业设计的背景噪音。
40.That is like an Anish Kapoor flowing through a Richard Serra.
那就像一件 Anish Kapoor 的雕塑品流过 Richard Serra 的雕塑品。
41.It is more valuable than the product in my eyes. I don’t have one.
在我眼里，这东西比成品更有价值。我自己还没有。
42.When I do make some money, I’ll have one machined for myself.
当我赚了钱，我将为自己做一个。
43.This is the final product. When they sent it to me, I thought I’d failed.
这是最后的成品。当他们寄给我时，我以为失败了。
44.It felt like nothing. It has to feel like nothing.
它没有什么感觉。它就是没有什么感觉。
45.It was when I put the water in that I realized that I’d put a skin on water itself.
但当我将它装了水，我才体会出我为水加了一层外皮。
46.It’s an icon of water itself, and it elevates people’s perception of contemporary design.
它是水本身的象征， 而且它提升了人们对当代设计的感受。
47.Each bottle is different, meaning the water level will give you a different shape.
每个瓶子都不同，意味着水位将给你不同的形状。
48.It’s mass individualism from a single product. It fits the hand.
这是单一产品的大量个人主义。它适合手握。
49.It fits arthritic hands. It fits children’s hands.
适合患关节炎的手，适合儿童的手。
50.It makes the product strong, the tessellation.
凹凸使瓶子更坚固。
51.It’s a millefiori of ideas.
这是创意的千层糕。
52.In the future they will look like that, because we need to move away from those type of polymers and use that for medical equipment
未来它们将会是那个样子，因为我们需要从 这种聚合物上离开并将它用在医学仪器上，
53.and more important things, perhaps, in life.
或用在生命中更重要的事情上。
54.Biopolymers, these new ideas for materials, will come in to play in probably a decade.
生物聚合物，这些材料上的新构想， 将在大约十年内上场。
55.It doesn’t look as cool, does it?
它看起来并不起眼，不是吗？
56.But I can live up to that. I don’t have a problem with that.
但我可以实现它。对我来说那并不是问题。
57.I design for that condition, biopolymers. It’s the future.
我以生物聚合物的条件来设计。这是未来趋势。
58.I took this video in Cape Town last year.
这是去年我在开普敦录制的影像。
59.This is the freaky side coming out.
这是怪异的一面出现了。
60.I have this special interest in things like this which blow my mind.
我对这一类能让我惊奇的事情特别感兴趣。
61.I don’t know whether to, you know, drop to my knees, cry.
我不知道是否要～你知道的，跪下来，大叫。
62.I don’t know what I think, but I just know that nature improves with ever-greater purpose that which once existed, and that strangeness is a consequence of innovative thinking.
我不知道我在想什么，但我只知道自然不断地在以 比既存的更伟大的目标进步着， 而怪异正是创新思维的结果。
63.When I look at these things, they look pretty normal to me.
当我看着这些事物，它们对我来说很正常。
64.But these things evolved over many years, and now what we’re trying to do — I get three weeks to design a telephone.
但这些事物是经过多年的演化，而现在我们试着要去做的 我只有三星期来设计一个电话。
65.How the hell do I do a telephone in three weeks, when you get these things that take   hundreds of million years to evolve?
我怎么能在三星期内设计一个电话呢？ 而这些东西却用了好几亿年的时间去演化？
66.How do you condense that?
你如何去浓缩它呢？
67.It comes back to instinct.
这又回归到直觉了。
68.I’m not talking about designing telephones that look like that, and I’m not looking at designing architecture like that.
我不是说设计看起来像那样的电话， 我也不是指设计像那样的建筑。
69.I’m just interested in natural growth patterns, and the beautiful forms that only nature really creates.
我感兴趣的只是自然的成长模式， 以及只有自然才能创造出的美丽形态
70.How that flows through me and how that comes out is what I’m trying to understand.
它如何流经我，然后得出来的 才是我试着要去理解的。
71.This is a scan through the human forearm. It’s then blown up through rapid prototyping to reveal the cellular structure. I have these in my office.
这是人类前臂的扫描。然后利用快速成型技术放大 显现其细胞结构。这些东西放在我办公室里。
72.My office is a mixture of the Natural History Museum and a NASA space lab.
我的办公室就像自然历史博物馆和 NASA 太空实验室的混合
73.It’s a weird, kind of freaky place.
那是一个怪异、有点反常的地方。
74.This is one of my specimens.
这是我的其中一个收藏。
75.This is made — bone is made from a mixture of inorganic minerals and polymers.
这个骨头是由无机矿物和聚合物混合制成的。
76.I studied cooking in school for four years, and in that experience, which was called domestic science, it was a bit of a cheap trick
在校时我学了四年厨艺，在那个经验中， 当时称为家政科学，我耍小聪明，
77.for me to try and get a science qualification.
企图用它来取得科学资格。
78.(Laughter) Actually, I put marijuana in everything I cooked — (Laughter) — and I had access to all the best girls. It was fabulous.
（笑声） 实际上，不论煮什么我都加进大麻（笑声） — 并能处在一群漂亮的女生中。快乐得像神仙。
79.All the guys in the rugby team couldn’t understand, but anyway — this is a meringue. This is another sample I have.
那些橄榄球队的家伙是不会了解的，总之 — 这是蛋白甜霜。这是我的另一个样本。
80.A meringue is made exactly the same way, in my estimation, as a bone.
我推估，蛋白甜霜的组成和骨头完全一样。
81.It’s made from polysaccharides and proteins.
它是由多糖类和蛋白质制成的。
82.If you pour water on that, it dissolves.
如果你浇水在其上，它会溶化。
83.Could we be manufacturing from food stuffs in the future?
将来我们可能用食材来制造东西吗？
84.Not a bad idea. I don’t know. I need to talk to Janine and a few other people about that, but I believe instinctively that that meringue can become something, a car — I don’t know.
想法不错。但是我也不知道。我需要去和 Janine 及一些其他人聊聊，但直觉上我相信 蛋白甜霜可以变成某些东西，一辆车 — 也许。
85.I’m also interested in growth patterns: the unbridled way that nature grows things so you’re not restricted by form at all.
我也对于成长模式感兴趣： 自然界无限制的成长方式使你毫不受到形态的限制。
86.These interrelated forms, they do inspire everything I do although I might end up making something incredibly simple.
这些相互联系的形态，确实激发了我做的每件事， 虽然最后我做出的东西可能难以置信的简单。
87.This is a detail of a chair that I’ve designed in magnesium.
这是我设计的镁金属椅子的细部。
88.It shows this interlocution of elements and the beauty of kind of engineering and biological thinking, shown pretty much as a bone structure.
这显示了多个要素的对话, 以及工程 和生物思维的美妙，表现出类似骨骼的结构。
89.Any one of those elements you could sort of hang on the wall as some kind of art object.
任何一个组件多多少少都可以挂在墙上当艺术品。
90.It’s the world’s first chair made in magnesium.
这是世界上第一个用镁制造的椅子。
91.It cost 1.7 million dollars to develop. It’s called Go by Bernhardt, USA.
开发它花了 170 万美元。美国的 Bernhardt 公司称它为 “Go”。
92.It went into Time magazine in 2001 as the new language of the 21st century.
它登上 2001 年时代杂志， 被喻为 21 世纪的新语言。
93.Boy. For somebody growing up in Wales in a little village, that’s enough.
天呀！对于某些在韦尔斯某个小村庄长大的人来说，这已经足够了。
94.It shows how you make one holistic form, like the car industry, and then you break up what you need.
这说明你如何创作一个整体的形态，如汽车业， 然后打破你所需要的。
95.This is an absolutely beautiful way of working.
这绝对是一个美丽的工作方式。
96.It’s a godly way of working.
是一个虔诚的工作方式。
97.There is — it’s organic and it’s essential.
这是有机的，是必要的。
98.It’s an absolutely fat-free design, and when you look at it, you see human beings. Bless you.
这绝对是一个无脂的设计，当你看着它时， 你看到人类。保佑你。
99.When that moves into polymers, you can change the elasticity, the fluidity of the form.
当那进入聚合物时，你可以变更形态的弹性，流动性。
100.This is an idea for a gas-injected, one-piece polymer chair.
这是一个气体注入的单件式聚合物椅子概念。
101.What nature does is it drills holes in things. It liberates form.
自然会在物体里钻洞。它解放形态。
102.It takes away anything extraneous. That’s what I do.
它移除任何多余的事物。而这就是我要做的。
103.I make organic things which are essential.
我做必要的有机物品。
104.I don’t — and they look funky too — but I don’t set out to make funky things because I think that’s an absolute disgrace.
虽然它们像是搞怪， 但是我绝不是为「怪」而怪，因为我认为那是绝对丢脸的事。
105.I set out to look at natural forms.
我的用意是要观察自然形态。
106.If you took the idea of fractal technology further, take a membrane, shrinking it down constantly like nature does: that could be a seat for a chair,
如果你进一步采用碎形技术的概念，拿一层薄膜， 像自然一样不断地缩小它： 这可能是椅子的座位，
107.it could be a sole for a sports shoe, it could be a car blending into seats.
可能是运动鞋的鞋底， 可能是一辆和座位融为一体的汽车。
108.Wow. Let’s go for it. That’s the kind of stuff.
哇！让我们去做吧！就是这样的东西。
109.This is what exists in nature. Observation now allows us to bring that natural process into the design process every day. That’s what I do.
这是存在自然界的东西。观察使我们现在能够 把自然的过程带到日常的设计过程中。这就是我要做的。
110.This is a show that’s currently on in Tokyo.
这是正在东京进行的一个展览。
111.It’s called Superliquidity. It’s my sculptural investigation.
它叫「超流动性」。这是我的雕塑研究。
112.It’s like 21st-century Henry Moore. When you see a Henry Moore still, your hair stands up. There’s some amazing spiritual connect.
这就像 21 世纪的亨利摩尔。看到亨利摩尔的作品， 你仍会惊异不已。这里也有一些令人惊讶的精神连结。
113.If he was a car designer, phew, we’d all be driving one.
如果他是一名汽车设计师，咻，我们都会开着一辆。
114.In his day, he was the highest taxpayer in Britain.
他在世时，曾是全英国纳税最多的人。
115.That is the power of organic design.
这就是有机设计的力量。
116.It contributes immensely to our sense of being, our sense of relationships with things, our sensuality and, you know, the sort of —
它极大地促进了我们的存在意识， 我们与物品关系的意识， 一种我们的肉体感受，
117.even the sort of socio-erotic side, which is very important.
甚至是社会情欲面的感受，这是非常重要的。
118.This is my artwork. This is all my process.
这是我的艺术品。这是我所有的工作过程。
119.These actually are sold as artwork.
这些实际上是当艺术品在卖。
120.They’re very big prints. But this is how I get to that object.
它们是很大的照片。但是这就是我如何做出那个物品的。
121.Ironically, that object was made by the Killarney process, which is a brand-new process here for the 21st century, and I can hear Greg Lynn laughing his socks off as I say that.
讽刺的是，这个物品是由基拉尼程序制成的， 这是一个全新的 21 世纪的程序， 当我这样说时，我可以听到 Greg Lynn 笑掉了他的袜子。
122.I’ll tell you about that later.
关于这件事我晚点再告诉你。
123.When I look into these data images, I see new things.
当我看这些数据影像时，我看到新的东西。
124.I’m self — it’s self-inspired. Diatomic structures, radiolaria, the things that we couldn’t see but we can do now.
這是自我 — 自我启发的。双原子结构、放射虫， 我们以往看不到的东西，但是我们现在能够做到。
125.These again are cored out. They’re made virtually from nothing.
这些又都是空心的。它们几乎不耗什么材料。
126.They’re made from silica. Why not structures from cars like that?
它们是硅土做的。为什么汽车结构不能这样呢？
127.Coral, all these natural forces take away what they don’t need and they deliver maximum beauty.
珊瑚，所有这些自然力都会除去它们不需要的 并且它们表现极大的美。
128.We need to be in that realm. I want to do stuff like that.
我们需要这样的领域。我要做这样的东西。
129.This is a new chair which should come on the market in September.
这是一张将在九月上市的新椅子，
130.It’s for a company called Moroso in Italy.
是为一家叫 Moroso 的意大利公司设计的。
131.It’s a gas-injected polymer chair.
它是一张气体注入的聚合物椅子。
132.Those holes you see there are very filtered-down, watered-down versions of the extremity of the diatomic structures.
这些你看到的孔洞是经过精简， 简化到极致的双原子结构。
133.It goes with the flow of the polymer and you’ll see — there’s an image coming up right now that shows the full thing.
它随着聚合物一起流动，你会看到 — 有一个显示整个东西的影像现在将出现。
134.It’s great to have companies in Italy who support this way of dreaming.
在意大利有公司愿意支持这样的梦想是一件很棒的事。
135.If you see the shadows that come through that, they’re actually probably more important than the product but it’s the minimum it takes.
如果你看到光线穿透它所造成的阴影效果， 它们实际上可能比产品更重要 但是它最少是这样。
136.The coring out of the back lets you breathe.
背部的镂空让你可以透气。
137.It takes away any material you don’t need and it actually garners flexure too, so — I was going to break into a dance then.
它移除了任何你不需要的材料 而它实际上也照应了弯曲，所以 — 我几乎要手舞足蹈了起来。
138.This is some current work I’m doing.
这是一些目前我在做的工作。
139.I’m looking at single surface structures and how they flow — how they stretch and flow. It’s based on furniture typologies, but that’s not the end motivation. It’s made from aluminum,
我尝试研究的是单一表面的结构以及它们如何流动 — 如何延伸和流动。这是基于家具形态， 但这不是最终的动机。它是铝制的，
140.as opposed to aluminium, and it’s grown.
相对于铝，它是生长出来的。
141.It’s grown in my mind, and then it’s grown in terms of the whole process that I go through.
它生长在我的脑海里，然后它依照 我想过的整个流程制造出来。
142.This is two weeks ago in CCP in Coventry, who build parts for Bentleys and so on.
这是两個星期前在英国科芬特里的 CCP，他们为宾特利汽车等公司制作零件。
143.It’s being built as we speak, and it will be on show in Phillips next year in New York.
于我们现在谈话的同时它正在建造， 明年它将在纽约的 Phillips 展出。
144.I have a big show with Phillips Auctioneers.
我在 Phillips 拍卖公司有个大展览。
145.When I see these animations, oh Jesus, I’m blown away.
当我看到这些动画，天呀！我太高兴了。
146.This is what goes on in my studio every day. I walk — I’m traveling. I come back.
这些事每天都发生在我的工作室。我走开 — 我去旅行。我回来。
147.Some guy’s got that on a computer — there’s this like, oh my goodness.
有人用计算机把它弄了出来 — 就这样，我的天！
148.So I try to create this energy of invention every day in my studio.
所以每天我在工作室尝试制造这种发明的能量。
149.This kind of effervescent, fully charged sense of soup that delivers ideas.
这种能传递构想的滚烫、有味的汤汁。