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objectified subtitle turkish translation
Raw
objectified-tr.srt
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Bir nesne gördüğünüzde,
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00:01:11,404 --> 00:01:16,865
bir çok varsayımda bulunursunuz
o nesne hakkında... birkaç saniye içinde.
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00:01:17,777 --> 00:01:24,205
Ne yapar, işini ne kadar iyi yapacak, ne
kadar ağır, ne kadar eder.
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00:01:27,987 --> 00:01:32,092
Bir nesne kendisini
hayal eden, üzerine düşünen,
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00:01:32,093 --> 00:01:35,926
geliştiren, üreten insanları yüceltir.
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00:01:37,230 --> 00:01:42,167
farklı biçimlere dönüşen,
maddeye, mimarisine,
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00:01:42,502 --> 00:01:46,836
size nasıl bağlantı kurduğu, nasıl
dokunduğu, nasıl tuttuğunuz
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00:01:47,373 --> 00:01:51,241
Her nesne, kasıtlı veya değil,
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00:01:53,480 --> 00:01:56,040
kendisini ortaya koyan ile konuşur.
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00:03:11,558 --> 00:03:15,654
Endüstriyel tasarımın amacı
her zaman seri üretim olmuştur.
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00:03:15,762 --> 00:03:19,065
Milyonlarca insan tarafından
kullanılması için
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00:03:19,066 --> 00:03:21,295
standartlaştırılmış nesneler üretir.
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00:03:21,801 --> 00:03:25,100
ilk örneklerinden biri
ilk çin imparatoru olmalı.
14
00:03:25,238 --> 00:03:30,508
Sonunda Çin'i meydana getirecek
bölgeleri kolonileştirmek için
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00:03:30,543 --> 00:03:35,173
bir savaş veriyordu, ve en
büyük problemi okçuların kendi oklarını
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00:03:35,248 --> 00:03:39,947
kendilerinin üretiyor olmasıydı.
arkadaşı oklarını alıp
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00:03:40,019 --> 00:03:44,979
savaşa devam edemiyordu
çünkü oklar kendi yayına uymuyordu.
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00:03:45,058 --> 00:03:50,086
ilk imparator ve danışmanları
okların tasarımını standartlaştıracak bir yola başvurur
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00:03:50,163 --> 00:03:53,394
böylece her ok herhangi bir yaya uyabilecekti.
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00:03:56,336 --> 00:04:01,740
Endüstriyel tasarımın en iyi örnekleri çoğu zaman
insanların biri tarafından tasarlandığını düşünmediği şeylerdir
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00:04:01,874 --> 00:04:06,937
örneğin Post-it!.
İnsanlar tasarlanmış bir şey olduğunu
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00:04:07,046 --> 00:04:11,608
düşünmez, şunun farkında değillerdir,
sabah gözlerimizi açtığımız andan itibaren
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00:04:12,185 --> 00:04:17,487
dünyamızı dolduran her şey
bir şekilde tasarlanmış bir üründür.
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00:04:23,630 --> 00:04:28,590
Her nesnede gizli bir hikate vardır.
Verilen her karar, bir noktada,
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00:04:28,701 --> 00:04:30,692
birşey hakkında.
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00:04:31,104 --> 00:04:36,508
Bu özel kürdan This particular toothpick is a
bir Japon kürdanı, ama besbelli
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00:04:36,609 --> 00:04:39,043
Amerika'da satılması için üretilmiş.
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00:04:39,145 --> 00:04:44,105
Peki bunu ilginç kılan ne, bir nesne
tipini uzun yıllar boyunca
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00:04:44,217 --> 00:04:49,188
evrilmesi. Farkedeceksiniz ki
uç noktası
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00:04:49,189 --> 00:04:54,057
ayrık böylece ucunu kırabilirsiniz.
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00:04:54,160 --> 00:04:58,620
Ve bu kullanılmış
olduğunu belirtmek içindi.
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00:04:58,698 --> 00:05:03,067
Ama aynı zamanda kürdan için
ince bir dayanak haline dönüşür
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00:05:03,436 --> 00:05:08,100
Belli ki bu japon stili kürdan
çok özel kültürel bir bağlama sahip
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00:05:08,174 --> 00:05:13,407
işlevini anlamlı kılan, böyle bir
ritüelin anlamlı olduğu. Amerika'da bu şekilde
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00:05:13,513 --> 00:05:18,678
kullanılmayabilir. Ama asıl
büyüleyici olan nesnelerde
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00:05:18,785 --> 00:05:23,745
saklı bu kısa hikayerlerdir. Bu bana
Henry Ford'un bir sözünü hatırlatır,
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00:05:23,890 --> 00:05:26,882
"Her nesne bir hikaye anlatır...
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00:05:27,760 --> 00:05:30,228
eğer okumasını bilirseniz."
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00:05:35,301 --> 00:05:40,206
We work as consultants, which means we work with a
lot of different companies in a lot of different fields
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00:05:40,241 --> 00:05:43,835
But really our common interest
is in understanding people, and
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00:05:43,943 --> 00:05:48,347
what their needs are. So if you
start to think, really what these
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00:05:48,548 --> 00:05:52,717
do as consultants is focus on
people, then it's easy to think
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00:05:52,752 --> 00:05:58,657
about what's needed design-wise in the
kitchen, or the hospital, or in the car.
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00:06:00,360 --> 00:06:05,261
We have clients come to us and say, here's our
average customer, for instance she's female,
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00:06:05,296 --> 00:06:10,162
she's 34 years old, she has 2.3 kids. And we
listen politely and say, well that's great but
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00:06:10,336 --> 00:06:15,865
we don't care about that person.
What we really need to do to design,
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00:06:16,042 --> 00:06:21,446
is look at the extremes, the weakest, or
the person with arthritis, or the athlete,
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00:06:21,547 --> 00:06:26,507
or the strongest or the fastest person.
Because if we understand what the extremes are,
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00:06:27,120 --> 00:06:31,113
the middle will take care of itself.
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00:06:33,059 --> 00:06:37,496
These are actually things I
haven't seen in 1,000 years.
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00:06:38,598 --> 00:06:43,558
We tried to use less material, like
here's one that's hollow inside.
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00:06:44,437 --> 00:06:49,397
Agood friend of mine, Sam Farber, he
was vacationing with his wife, Betsy.
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00:06:49,509 --> 00:06:54,242
I got a phone call one night, he was
so excited he said he couldn't sleep.
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00:06:54,380 --> 00:06:59,181
And what he was excited about was he'd been
cooking dinner with Betsy and she was making
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00:06:59,318 --> 00:07:04,551
an apple tart. And she was complaining about
the peeler, that it was hurting her hands.
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00:07:04,690 --> 00:07:11,152
She had arthritis, and she just couldn't
hang on to it. And it hit Sam at that moment
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00:07:11,330 --> 00:07:15,266
that here's a product that
nobody's really thought about.
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00:07:15,568 --> 00:07:21,302
And our thought was, well if we can make it work for
people with arthritis, it could be good for everybody.
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00:07:21,974 --> 00:07:26,968
We knew that it had to be a bigger handle.
Kids have big crayons because they're easier
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00:07:27,079 --> 00:07:32,039
to hold onto. It's the same thing for somebody
that might not have full mobility of the their hand,
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00:07:32,151 --> 00:07:36,485
they need something a little bit larger, that's
a little easier to grip with a little less force.
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00:07:36,589 --> 00:07:41,356
So we did a lot of studies around the shape of
the handle, the size of it, to come up with a size
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00:07:41,427 --> 00:07:44,260
that would be perfect for everybody.
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00:07:44,363 --> 00:07:49,960
But eventually we found a rubberized
bicycle grip, and we basically did this.
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00:07:52,004 --> 00:07:56,964
So, it really goes through many, many,
more iterations than you would think
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00:07:57,109 --> 00:08:02,069
to do a handle that's
relatively simple in the end.
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00:08:04,817 --> 00:08:09,686
I think one thing with a hand pruner is that
you have this constant friction happening
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00:08:09,789 --> 00:08:11,780
when you're closing it.
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00:08:11,924 --> 00:08:16,258
But I feel like here's the spot that really
hurts, this is the biggest pressure point for me.
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00:08:16,395 --> 00:08:21,355
So it's like here in this area, on
all four fingers, you have friction.
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00:08:22,969 --> 00:08:27,668
So when we start out doing a project,
looking at these different tools to understand
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00:08:28,074 --> 00:08:33,034
how we can design a better
experience for someone, ergonomically
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00:08:33,145 --> 00:08:38,105
So what we did here was to map it out, when we did
the exercise with the glove, understanding where
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00:08:38,217 --> 00:08:44,019
the pressure points are, then we go into this
process of developing models of some of the ideas.
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00:08:45,057 --> 00:08:50,518
One thing we realized with this model, if you
compare with other hedge shears, a lot of them
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00:08:50,596 --> 00:08:57,126
just have a straight handle, you don't have any
control over the weight. So if you're cutting
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00:08:57,236 --> 00:09:01,764
far down, you have to squeeze harder to hold
the tool in place, otherwise it's going to slide
78
00:09:01,874 --> 00:09:09,610
out of your hands. So by sculpting this handle
area, it locks your hand around this form,
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00:09:09,715 --> 00:09:14,550
so you have to squeeze less, so
you have a really secure grip.
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00:09:18,024 --> 00:09:22,984
We're really at the final stages of our design
here, where we put them into a place where we can
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00:09:23,062 --> 00:09:27,931
control them much more closely to get them
ready for manufacture, and that is known as CAD
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00:09:28,000 --> 00:09:30,298
or Computer Aided Design.
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00:09:30,469 --> 00:09:34,963
It's very important that we
constantly are verifying our CAD
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00:09:35,074 --> 00:09:37,440
with physical models.
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00:09:39,078 --> 00:09:43,845
Once you get into that, we use a set of
technologies that are called rapid prototyping,
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00:09:43,983 --> 00:09:48,943
so we can really finely control
the ergonomics of these parts.
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00:09:50,690 --> 00:09:55,650
So there are the two halves that come out of the
machine, and you can glue them together to make
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00:09:55,761 --> 00:10:02,758
an entire handle, and attach them to prototypes
such as this so we can go out and feel the
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00:10:02,868 --> 00:10:07,828
comfort and work with it, and make sure our CAD
model really represents our design intention.
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00:10:11,143 --> 00:10:16,103
The way we think of design is, let's
put great design into everyday things,
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00:10:16,315 --> 00:10:19,910
and understand how to make
these gadgets perform better.
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00:10:20,019 --> 00:10:24,979
And that's what we're always looking for
whenever we design are ways we can improve
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00:10:25,091 --> 00:10:29,221
the way people do things,
or improve their daily life,
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00:10:29,295 --> 00:10:34,028
without them even knowing
it or thinking about it.
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00:10:50,883 --> 00:10:56,719
Japanese gardeners, the
bonsai must be cut in a way,
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00:10:57,289 --> 00:11:03,717
that a small bird can fly
through it. It's nice, isn't it?
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00:11:05,297 --> 00:11:09,927
But all the other trees,
you also have to cut them.
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00:11:10,536 --> 00:11:16,497
It's much more so, in Japan. They
have to cut them, they have to...
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00:11:16,676 --> 00:11:21,636
we would say... to design them.
But why are we doing all this?
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00:11:21,781 --> 00:11:27,549
We are doing a lot, to design our
world now, we even design the nature.
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00:13:57,503 --> 00:14:02,463
I remember the first time I saw an Apple
product. I remember it so clearly because
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00:14:02,575 --> 00:14:07,842
it was the first time I
realized, when I saw this product,
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00:14:08,814 --> 00:14:15,014
I got a very clear sense of the
people who designed it and made it.
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00:14:16,989 --> 00:14:23,360
A big definition of who you are as a designer
is the way that you look at the world.
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00:14:25,397 --> 00:14:30,835
And I guess it's one of the curses of what you do,
you're constantly looking at something and thinking,
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00:14:30,936 --> 00:14:36,374
why is it like that? Why is
it like that and not like this?
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00:14:38,978 --> 00:14:43,938
And so in that sense,
you're constantly designing.
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00:14:49,255 --> 00:14:54,852
When we're designing a product, we have to
look to different attributes of the product,
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00:14:54,960 --> 00:14:59,930
and some of those attributes will be the
materials it's made from, and the form
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00:14:59,965 --> 00:15:05,631
that's connected to those materials. So for
example with the first iMac that we made,
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the primary component of that was the cathode
ray tube, which was spherical. We would have an
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entirely different approach to designing something
like that, than the current iMac, which is a very thin
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flat-panel display.
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00:15:17,883 --> 00:15:22,786
Other issues would be, just physically how
do you connect to the product, so for example
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with something like the iPhone,
everything defers to the display.
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00:15:29,862 --> 00:15:34,959
A lot of what we seem to be doing in a product
like that is getting design out of the way.
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And I think when forms develop with that sort
of reason, and they're not just arbitrary shapes,
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it feels almost inevitable, it feels
almost un-designed. It feels almost like,
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well of course it's that way,
why wouldn't it be any other way.
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This is the bezel for the iMac. When we remove
the aluminum for the display in the center,
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we actually take that material and then
we can make two keyboard frames from it.
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00:16:13,973 --> 00:16:18,933
These are literally just a couple of the
stages of how you make the MacBook Air.
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Rough cutting... this is for the keyboard well.
And there is just a remarkable efficiency and beauty
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to how much a single part can do, and one of
things we push and push ourselves on is trying to
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figure out, can we do the job
of those six parts with just one.
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00:16:39,665 --> 00:16:48,630
This part actually starts off as this extrusion,
this is an aluminum extrusion that goes through
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00:16:48,874 --> 00:16:56,747
multiple operations, most of them
CNC machined operations, to end up...
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00:16:59,518 --> 00:17:05,650
to end up with this part. And you can
see, just a dramatic transformation
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00:17:05,791 --> 00:17:11,252
between this raw blank and the
final part. But what we end up with,
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is a part that's got all of the mounting features,
all of the bosses... this is just one part,
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00:17:19,505 --> 00:17:24,943
but this one part is providing
so much functionality.
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00:17:25,177 --> 00:17:29,341
And this one part really
does enable this product.
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So much of the effort behind a product
like the MacBook Air was experimenting
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with different processes. There's
a... it's completely non-obvious,
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00:17:41,994 --> 00:17:47,523
but the way that you hold... to
get from this part, to this part...
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00:17:47,633 --> 00:17:55,597
there's an incredibly complex series of fixtures
to hold this part in the different machine stages.
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00:17:56,742 --> 00:18:00,610
And we end up spending a lot
of time designing fixtures.
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The design of this, in many ways
wasn't the design of a physical thing,
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it was figuring out process.
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00:18:09,188 --> 00:18:13,454
It's really important in a product to have
a sense of a hierarchy of what's important
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00:18:13,559 --> 00:18:18,360
and what's not important, by removing those
things that are all vying for your attention.
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00:18:18,597 --> 00:18:22,761
An indicator has a value when
it's indicating something.
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00:18:22,868 --> 00:18:27,066
But if it's not indicating
something, it shouldn't be there.
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00:18:27,239 --> 00:18:33,974
It's one of those funny things, you spend so much
time to make it less conspicuous and less obvious.
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00:18:34,146 --> 00:18:39,106
And if you think about it so many of the products
that we're surrounded by, they want you to be very
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00:18:39,184 --> 00:18:43,985
aware of just how
clever the solution was.
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00:18:44,223 --> 00:18:49,752
When the indicator comes on, I wouldn't
expect anybody to point to that as a feature,
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00:18:49,895 --> 00:18:57,768
but at some level I think you're aware
of a calm and considered solution,
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00:18:57,836 --> 00:19:04,173
that therefore speaks about how you're
going to use it, not the terrible struggles
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00:19:04,376 --> 00:19:09,837
that we as designers and engineers had
in trying to solve some of the problems.
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That's quite obsessive, isn't it?
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00:19:19,191 --> 00:19:24,322
We now have a new generation of products
where the form bears absolutely no relation
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00:19:24,463 --> 00:19:29,162
to the function. I mean, look at something like
an iPhone and think of all the things it does.
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00:19:29,301 --> 00:19:34,261
In "ye olden days" of what are called analog
products, in other words they're not digital,
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00:19:34,406 --> 00:19:40,436
they're not electronic, something like a chair or
a spoon. "Form follows function" tended to work.
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00:19:40,579 --> 00:19:45,744
So if say you imagine being a Martian and you
just land on planet Earth, and you've never seen
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00:19:45,817 --> 00:19:50,447
a spoon or a chair before. You can guess
roughly what you're supposed to do with them...
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00:19:50,556 --> 00:19:55,220
sit on them or feed yourself with them... by
the shape of the object, by the way it looks.
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00:19:55,360 --> 00:20:02,698
Now all that has been annihilated by the
microchip. So design is moving from this culture of
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00:20:02,834 --> 00:20:07,965
the tangible and the material, to an
increasingly intangible and immaterial culture,
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00:20:08,140 --> 00:20:13,806
and that poses an enormous number of
tensions and conflicts within design.
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00:20:17,282 --> 00:20:21,343
I think there are really
three phases of modern design.
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00:20:21,453 --> 00:20:27,722
One of those phases, or approaches if you like,
is looking at the design in a formal relationship,
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00:20:27,859 --> 00:20:33,957
the formal logic of the object. The
act of form-giving, form begets form.
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00:20:34,166 --> 00:20:39,627
The second way to look at it is in terms of
the symbolism, and the content of what you're
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00:20:39,771 --> 00:20:46,472
dealing with. The little rituals that make
up... making coffee, or using a fork and knife,
167
00:20:46,578 --> 00:20:53,108
or the cultural symbolism of a particular object.
Those come back to inhabit and help give form,
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00:20:53,252 --> 00:20:58,383
help give guidance to the designer about how
that form should be, or how it should look.
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00:20:58,590 --> 00:21:04,620
The third phase is looking at design in a
contextual sense, in a much bigger-picture scenario.
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00:21:04,730 --> 00:21:11,659
It's looking at the technological context for that
object, it's looking at the human-object relationship.
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00:21:12,237 --> 00:21:16,799
For the first phase you might have something
fairly new, like Karim Rashid's Kone vacuum
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00:21:16,942 --> 00:21:23,279
for Dirt Devil, that the company sells as
so beautiful that you can put it on display,
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00:21:23,415 --> 00:21:27,249
in other words you can leave it on your counter
and it doesn't look like it's a piece of crap.
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00:21:27,719 --> 00:21:32,679
Conversely you can look at James Dyson and
his vacuum cleaners. He approaches the design
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00:21:32,791 --> 00:21:37,751
of the vacuum in a very functionalist
manner, but if you look at the form of it,
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00:21:37,896 --> 00:21:41,923
it's really expressing that, it's
expressing the symbolism of function.
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00:21:42,067 --> 00:21:46,265
There's color introduced into it, and he's not a
frivolous person, so it's really there to articulate
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00:21:46,438 --> 00:21:51,740
the various components of the vacuum. Or you
could look at, in a more recent manifestation
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00:21:51,843 --> 00:21:56,075
of this kind of contextual approach,
would be something like the Roomba.
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00:21:56,248 --> 00:22:00,412
There the relationship to the vacuum is very
different. First of all there's no more human
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00:22:00,485 --> 00:22:05,047
interaction relationship, the
relationship is to the room it's cleaning.
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00:22:05,190 --> 00:22:09,786
I think it's even more interesting that the company
actually has kits available in the marketplace
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00:22:09,895 --> 00:22:14,423
through iCreate, and it's essentially the Roomba
vaccum cleaner kit that's made for hacking.
184
00:22:14,766 --> 00:22:20,466
People are really wacky, they've created
things like Bionic Hamster, which is attaching
185
00:22:20,605 --> 00:22:26,669
the play wheel or dome that the hamster
uses as the driving device for the Roomba,
186
00:22:26,812 --> 00:22:31,772
so it's the ultimate revenge of
the animal on the vacuum cleaner.
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How I think about it as a designer myself
is that design is the search for form,
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what form should this object take.
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And designers have asked that
question, and used different processes.
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Hey, what about the forks for the
bike? Can you make a few inquiries?
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Because I'd love to do the forks, I
think the forks would be really cool.
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Well this is my little table of... one of my
tables... you know I've got a whole workshop downstairs
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which is just full of shit. But these are
just things that I just find interesting,
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and things I want to have around and
look at. Sometimes these are the materials
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that I'm looking for an excuse to use,
as opposed to the other way around.
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But things like Micarta, this is one of my
favorite materials, and it's actually made of linen,
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so it's a bit like wood, actually, it feels like
a living material. And it's enormously heavy.
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And these kind of weird meshes, how cool is
that. I have no idea what they use this for...
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it's like this stainless
steel... braided... stuff.
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My career didn't start after art school,
it started when I made my first object
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in my grandfather's garage. I remember my
uncle had said as soon as I could tell the time,
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he'd give me a wristwatch. So I figured out how
to tell the time, and he gave me this wristwatch,
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and I promptly pulled it to bits. I went out to
my grandfather's garage and found an old bit of
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Plexiglas and started hacking away at
this bit of Plexiglas and drilling holes,
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and I transplanted this movement
from this once-working watch into it.
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That was my first...
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...design, I guess.
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I grew up in a generation... you know I
can remember when they landed on the moon.
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I can't deny that that was a massive event in
my life. All of my dreams were about the future.
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What I want to do is to be able to have things
that don't exist... things you can't go out and buy,
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or things that irritate you. Anger,
or dissatisfaction at the very least,
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plays such an important role in
motivating you, to do what we do.
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But ultimately my job as a
designer is to look into the future,
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it's not to use any frame of reference that
exists now. My job is about what's going to happen,
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not what has happened.
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As a designer, my philosophy
is fundamentally non-disposable,
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and somehow trying to offer
products that you want to keep,
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and products that you feel most
importantly will stand the test of time.
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That hopefully won't date
as badly as other things.
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Because it's all about wanting to have new
things, isn't it? Ultimately, we could all still be
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using the mobile phone
we had three years ago.
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But you know we've all had
about five in the meantime.
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Of course I fundamentally believe that something
that's well-designed should not necessarily
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cost more. Arguably it should cost less. But
the problem is that design has become a way
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for a lot of companies to "add value"
because something is designed, and therefore
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charge more money for it.
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And it will become more and more
pervasive, and things will be
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marketed in terms of
design, in the future.
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The idea of elitism and the idea of design are
merged. And it's out of this kind of culture
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that the idea of democratization of design
comes from. I always tell people that I grew up
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with good design in my home,
with all the Joe Columbo
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and Achille Castiglioni pieces,
not because we were rich, or
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my parents were educated in design. Not at
all, we were totally middle class and my parents
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are doctors. It's just because that's
what you would find at the corner.
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There's design that costs more, and design that
costs less. Some of it is good, some of it is bad.
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"Democratization of design" is an empty
slogan, it should really not even exist.
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Target, in particular, fell right into line
with, and influenced a lot of pop culture thinking
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about the importance of design and the virtue
of design. The basic idea was good design is
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something you want, good design s
something that distinguishes you,
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t's sort of a mark of progress,
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if you are a person who recognizes good design
it distinguishes you from all the naïve and
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corny bourgeois of the past, the past
being everything up to that minute.
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So you can now buy into that, you can buy
into progress, good design, good taste.
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And they had it available to
you in a very attainable way.
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Often the way that a product comes into being
isn't because a bunch of expert designers
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sat down and said, " What are the ten
most important problems we can solve?"
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There's a company that's writing a check.
And what the company wants is new SKU's,
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they want more stuff, and they want more people
to buy it. And that's the name of the game.
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We tend to want new things.
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They can do something that has a different
look, a fresher look, a newer look,
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a new-now, next-now
kind of look.
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And the problem with spending a lot of time
focusing on what's very now and very next
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is that it isn't very forever. And that means it
doesn't last, because there's someone else coming along
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trying to design what's now and next
after that. And part of their agenda,
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whether it's over-articulated or not,
is to make whatever used to be now,
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look like then, so that
people will buy the new now.
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Cars are the biggest and most
abundant set of sculptures that we have
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in contact every day in our lives.
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Although they're reproduced by machines,
and computer milled stamps that make them,
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actually every one of them was originally
carved by hand, by men and women using techniques
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not a whole lot different
than Michelangelo.
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Car designers are making
extremely dynamic, sexy
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objects, in theory. But in reality,
they're bending metal, plastic,
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glass. This isn't like a woman coming down
a catwalk, where she's swishing the dress and
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showing a little bit here and there, and getting your
eyes to goggle. Unh-uh. This thing is frozen in time.
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Which means we have to create it in a way
so that you as the observer look at it,
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and you put the motion into it, by the way you
scan it. Because that car has to be a reflection
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of that emotional energy
that you want to see in it.
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I believe very strongly in the emotional authenticity
of the product, it should reflect what it is.
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So if the car is a performance
object it should have that feel.
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It is quite bothersome to me when I see humanistic
elements of a car being strangely handled.
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For instance, cars have a face.
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Well, you can have lots of faces. But when you
put that one face on a car, it's there forever,
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it's just one expression. And because
cars have evolved to having two elements,
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big taillights and a license plate, the
backs of cars have also evolved a face,
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also very interesting, and some of
those are awfully... challenging.
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How do we solve problems of lightness, how do
we solve problems of efficiency? I think these
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are things that are going to be difficult, but we
can solve those. But the real challenges of car design
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are going to be addressing the future generations'
perceptions of what they want cars to be in their
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lives? Do they want them to fade into the
background, and just be there when they need one?
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Or do they want them to stand up and be a
representative of them, basically like we grew up
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with it, they're kind of like avatars. I show
myself to the outside world through this car.
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When you own the car and you drive the car,
even your decisions about are you going to put
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a bumper sticker on it...
there's an idea of an audience.
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I feel pretty strongly, and this is true not just for
cars but for almost everything we buy, that our real
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audience is really ourselves. And that
the person that you're really speaking to
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when you're speaking about why me in this
car, why is this the right car for me...
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you're making a statement
to yourself about yourself.
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In sort of an abstract way, you're thinking
about what they might be thinking of you,
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and whether or not they like your Obama
sticker, or your Save the Whales, or...
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or your Christian fish, or whatever it
might be. But the crucial thing is the self,
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it's your own audience, your own story of I'm
not that guy, or I am that guy, or that woman.
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Because the truth is no
one cares, on the highway.
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Design is about mass production.
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Design is using industry
to produce serialized goods.
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And I try everything I can in the mass market
to change the goods, that people who know
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nothing about design, or the people who say
they don't care about design, or the people who
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don't believe their world should
have contemporary goods in it.
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Those are the people I think design can
have such an amazing affect on their lives.
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When I was a teenager, I had this white... from
Claritone, I think it was a Canadian company,
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it was a white bubble stereo,
with two bubbled white speakers.
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And it was probably very inexpensive, it was
a real democratic product. It was a turntable,
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and the whole thing built in. And it
was a beautiful thing... Looking back,
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and thinking why it was a beautiful thing,
was because it was very self-contained,
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and the message was very strong and very
simple, and at the same time it was very human.
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There was a quality about it, it was like a
womb, it was like an extension of us, somehow.
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It was soft, it was engaging. And I used
to have this alarm clock radio, a Braun,
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that Dieter Rams
designed in the late '60s.
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And they were these objects in my life that I
really was in love with, they brought so much to me.
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And I can remember going through the teenage
angst thing, of feeling depressed or something,
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and lying on my bed, and I would just look at
the alarm clock, and felt better immediately.
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So I always had this really strong
relationship with physical products.
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There's something that moves through a lot of
my forms, and that is to speak about a kind of
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digital, technological, or techno-organic
world. Somehow if I do things that are very,
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very organic, but I'm using new technologies,
I feel like I'm doing something in a way
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that's a physical interpretation
of the digital age.
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We have advanced technologically so far, and yet
somehow it's some sort or paranoia where we're
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afraid to really say We live in the third
technological revolution. I have an iPod in my pocket,
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I have a mobile phone, I have a laptop, but
then somehow I end up going home and sitting on
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wood-spindled Wittengale chairs. So in a way
you could argue that we're building all these
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really kitsch stage sets, that have absolutely
nothing to do with the age in which we live.
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It's strange! I find it extremely perverse, in a
way. I mean imagine right now, I'm sitting here on my
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laptop, and I've got to go out. What am I going
to do, get in my horse and carriage? Of course not!
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Why do we feel like we need to keep
revisiting the archetype over and over again?
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Digital cameras, for example, their format and
proportion, the fact that they're a horizontal
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rectangle, are modeled after the original silver
film camera. So in turn it's the film that defined
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the shape of the camera. All of the
sudden our digital cameras have no film.
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So why on earth do we have the same shape we
have. Now without sounding like a hypocrite,
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I revisit archetypes, I've designed many chairs.
With that given, you say, okay now I'm going to design
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a chair. What can I do here? How can I put my
fingerprint on it and differentiate it from everyone
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else and every other designer? And am I
playing a game to show I can differentiate?
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or am I actually really doing something that is
contributive? Because the big issue with design is,
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are the things we are doing really
making an affect and making change?
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78% of the world is completely impractical.
78% of the world is uncomfortable. You feel it.
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You feel that hotel rooms are poorly designed,
you sit in chairs that are very uncomfortable.
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And it's craziness. Imagine that if you design a
million chairs to date, or however many chairs have
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been done in the world, why on earth
should we have an uncomfortable chair?
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There's no excuse whatsoever.
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People need to demand that design performs
for them and is special in their lives.
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these objects that they buy.
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If you can't make your
GPS thing work in your car,
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there should be a riot because
they're so poorly designed.
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Instead, the person sits there and thinks, "Oh, I'm
not very smart, I can't make this GPS thing work. "
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I can't make the things work! This is
my field and I can't make them work!
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If you design something that's precious and that
you really love, you're never going to leave that.
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My father's briefcase, made out of a beautiful piece
of leather, gets better with use. And I've inherited it
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and I'll pass it on, right? It's a really
interesting thing, sometimes I get that task which is:
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00:47:37,721 --> 00:47:44,061
design something that gets better with use.
There's very few things, they mostly degrade, but...
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some things like this
briefcase get better with use.
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Now that's a pretty sweet
tick-over, don't you think?
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I like the concept of wearing
in rather than wearing out.
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You'd like to create something where the emotional
relationship is more satisfying over time.
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And you may not worry about it, or think
about it... people don't have to have a strong
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love relationship with their things, but they
should grow a little more fond of them over time.
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For example on the laptop that I designed,
it's actually a magnesium enclosure
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but it has paint on the outside. And
when it gets dinged, if it's dropped and
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a bit of paint chips off and you see
some of the magnesium showing through,
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00:48:50,929 --> 00:48:54,853
somehow it feels better because of that.
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00:48:56,433 --> 00:49:03,464
The computer we call the Grid Compass, the
Compass computer, arguably the first laptop
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that was actually ever produced is this one.
You could carry it with you, we designed it to be
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thin enough to fit in half your briefcase,
so you could put papers in as well.
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Then there was a leg at the back that flipped
down, to put it at the right angle, for using
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the ergonomic preferred angle of 11 degrees.
We wanted to devise a hinge that would allow it
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to rotate so the display could come up, but also
not let anything into the electronics behind.
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00:49:32,669 --> 00:49:39,131
So in order to avoid something like a pencil falling
into it, let me just show you what could happen,
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if you put a pencil on the back it would
roll down and drop inside. I designed a scoop,
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that would then self-eject
the pencil when you closed it.
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That was a little trick... of that.
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When I got the first working prototype, I
took the machine home, really thrilled about
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wanting to use it myself. And it was with great
pride that I opened up the display and thought
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00:50:09,674 --> 00:50:14,269
how clever I was to have designed this
latch and this hinge and all this stuff.
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And then, I started to actually try and use
it. And within a few moments, I found myself
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forgetting all about my physical design, and
realizing that everything I was really interested in
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was happening in my relationship between
what was happening behind the screen.
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I felt like I was kind of being sucked down
inside the machine, and the interaction between me
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and the device was all to do with the digital software
and very little to do with the physical design.
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That made me realize that if I was going to truly
design the whole experience, I would really have
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to learn how to design this software stuff.
That made me search for a name for it,
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which we ended up calling
interaction design.
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Arguably the biggest single challenge facing
every area of design right now is sustainability.
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It's no longer possible for designers to
ignore the implications of continuing to produce
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00:56:33,790 --> 00:56:38,750
more and more new stuff that sometimes
we need, and sometimes we don't need.
383
00:56:39,429 --> 00:56:44,298
Designers spend most of their time designing
product and services for the 10% of the world's
384
00:56:44,367 --> 00:56:51,671
population that already own too much, when
90% don't have even basic products and services
385
00:56:51,741 --> 00:56:55,177
to lead a subsistent life.
386
00:56:58,047 --> 00:57:03,508
Although a lot of designers believe emotionally
and intellectually in sustainability,
387
00:57:03,920 --> 00:57:09,324
they and the manufacturers they work for are
finding it very difficult to come to terms with.
388
00:57:09,592 --> 00:57:16,099
Because sustainability isn't some sort of pretty,
glamorous process of using recycled materials
389
00:57:16,134 --> 00:57:20,229
to design something that may or
may not be in the color green.
390
00:57:20,303 --> 00:57:28,005
It's about redesigning every single aspect, from
sourcing materials, to designing, to production,
391
00:57:28,077 --> 00:57:33,082
to shipping, and then eventually designing a way
that those products can be disposed of responsibly.
392
00:57:33,117 --> 00:57:37,620
That's a mammoth task, so it's no
wonder designers and manufacturers
393
00:57:37,655 --> 00:57:39,747
are finding it so difficult.
394
00:57:45,462 --> 00:57:51,128
If one's really honest with oneself, most of
what you design ends up in a landfill somewhere.
395
00:57:51,801 --> 00:57:57,034
And I'm pretty sure most of the
products that I've designed in my career,
396
00:57:57,106 --> 00:58:02,976
most instances of the millions of things that
have been produced are probably in landfills today.
397
00:58:03,313 --> 00:58:08,184
That isn't something I was conscious of when I
started working as a designer, it didn't even really
398
00:58:08,219 --> 00:58:12,518
occur to me because it didn't really
occur to us as a society, I think.
399
00:58:12,622 --> 00:58:18,219
Now, to be a designer, you have to take that
into consideration, because we have to think about
400
00:58:18,294 --> 00:58:23,129
these complex systems in
which our products exist.
401
00:58:23,433 --> 00:58:29,838
If the shelf life of a high-tech object is less
than 11 months, it should all be 100% disposable.
402
00:58:30,473 --> 00:58:35,740
You know, my laptop should be made of cardboard,
or my mobile phone could be a piece of cardboard,
403
00:58:35,912 --> 00:58:40,872
or it could be made out of something
like sugar cane or some bio-plastic, etc.
404
00:58:42,519 --> 00:58:46,853
Why on earth does anything have
to be built to be permanent?
405
00:58:47,624 --> 00:58:55,622
If I think about my admiration for Eames, it
was an admiration for his ability to identify
406
00:58:55,732 --> 00:59:01,271
the qualities of new materials which could be used
to create new objects. But nobody worried about
407
00:59:01,306 --> 00:59:06,368
whether fiberglass was going to cause
disease, or be difficult to dispose of.
408
00:59:06,442 --> 00:59:12,005
Life was a little bit simpler for him, in that
regard. He could just think about using the materials
409
00:59:12,081 --> 00:59:15,107
for their best design attributes.
410
00:59:18,254 --> 00:59:23,660
But now, we have to face this idea that
what we do is not just the way we create some
411
00:59:23,695 --> 00:59:26,060
individual design.
412
00:59:27,664 --> 00:59:33,068
It's what happens afterwards, when we've
finished our design and people have used it.
413
00:59:34,304 --> 00:59:39,264
So this sort of "cradle
to cradle" concept.
414
00:59:51,688 --> 00:59:56,455
One of my very first projects was to
design a toothbrush, a kids' toothbrush.
415
00:59:56,526 --> 01:00:02,055
Brushes at that time typically were just a stick
with bristles at the end, which was pretty boring.
416
01:00:02,365 --> 01:00:06,961
So we introduced other materials
to it and we made the handle thick.
417
01:00:07,036 --> 01:00:12,235
And in the end it became a really
successful product. But my boss,
418
01:00:12,308 --> 01:00:17,541
maybe half a year after we launched
the brush, went on vacation...
419
01:00:17,647 --> 01:00:22,447
the idea was to go to the most remote
beach. And the way Paul tells the story is
420
01:00:23,186 --> 01:00:27,247
the next morning he steps out of the tent
and he wants to go the pristine beach,
421
01:00:27,323 --> 01:00:32,693
whales frolicking and all perfect, and what
does he stumble over: it's our toothbrush.
422
01:00:32,829 --> 01:00:38,734
And it's there, and it's this brush, it's
covered in barnacles, the plastic is faded,
423
01:00:38,868 --> 01:00:45,933
the bristles are worn. This brush, within months
of the product being launched, had been used up,
424
01:00:46,042 --> 01:00:51,810
had been discarded, and found its way in the
Pacific. So even though it's a little, small object,
425
01:00:51,948 --> 01:00:57,079
it creates a big piece of landfill that
apparently goes just about everywhere.
426
01:01:01,791 --> 01:01:06,125
Let's go ahead and start defining some of the
challenges and some of the questions we might be
427
01:01:06,195 --> 01:01:11,690
asking ourselves. Is there any toothbrush that we'd
actually feel comfortable washing up on the beach?
428
01:01:12,235 --> 01:01:16,934
So much of the toothbrush does not need to
be disposed of, right? You put the bristles
429
01:01:17,006 --> 01:01:21,966
in your mouth, the rest of it is all cleanable
material. Why are we tossing this stuff out every time?
430
01:01:22,078 --> 01:01:27,481
There could be the greatest handle in the world,
because if you only use one handle in your lifetime
431
01:01:27,516 --> 01:01:32,885
you could make it out of sterling silver, it could
be this heirloom and then you just replace the heads.
432
01:01:33,356 --> 01:01:38,316
I think also the solution of the toothbrush
assumes the only approach to oral care,
433
01:01:38,394 --> 01:01:42,262
or one of the main approaches to
oral care is through the toothbrush.
434
01:01:42,331 --> 01:01:47,291
What is we didn't need
toothbrushes? What could it be?
435
01:01:50,373 --> 01:01:55,244
When I first started the company, the role of
the industrial designer was primarily about the
436
01:01:55,279 --> 01:02:03,811
aesthetics, or the cleverness around
function, but it was always as a minor piece...
437
01:02:03,953 --> 01:02:12,759
the company was in charge of the major piece,
and we were hired guns to complete some aspect.
438
01:02:12,995 --> 01:02:18,262
The question is actually not " What's the new
toothbrush?" but " What's the future of oral care?"
439
01:02:18,367 --> 01:02:21,894
Afortune cookie with floss inside?
440
01:02:22,105 --> 01:02:26,542
As we grew it became clear that companies
were happy for us to do more and more
441
01:02:26,609 --> 01:02:30,045
of the actual design
of the overall product.
442
01:02:30,179 --> 01:02:34,013
I don't know, I'm really just enamored with
the idea of doing teeth cleaning at NASCAR.
443
01:02:34,150 --> 01:02:39,349
I kind of think of it as they do analytical thinking
and we do this kind of innovative or design thinking
444
01:02:39,422 --> 01:02:47,386
where we're more focused on user-centered ideas,
stuff that will resonate with the people who
445
01:02:47,463 --> 01:02:52,332
are going to actually use the product.
We come in from the point of view of,
446
01:02:52,401 --> 01:02:58,271
"What do people value, what are their needs?"
And it just results in different products.
447
01:02:59,208 --> 01:03:03,645
You get these things, and you break
them apart and it's like a wishbone.
448
01:03:04,213 --> 01:03:08,651
The big design challenge here is
there's a lot of things we care about and
449
01:03:08,686 --> 01:03:12,610
cleaning our teeth is
probably not high on that list.
450
01:03:12,822 --> 01:03:17,122
I think the wishbone is nice, but it
should take the real shape of a wishbone.
451
01:03:17,326 --> 01:03:24,960
Design thinking is a way to systematically be
innovative. You know how some people make lists,
452
01:03:25,034 --> 01:03:29,664
designers make what I call mind maps,
where they keep going further and further.
453
01:03:29,739 --> 01:03:32,240
Something leads to something
else, which leads...
454
01:03:32,275 --> 01:03:35,836
And as you're branching out you're
getting to new ground, where your mind
455
01:03:35,912 --> 01:03:42,875
has never taken you before. And that's where
interesting design stuff happens, in my mind.
456
01:03:46,422 --> 01:03:48,189
When I came into design,
457
01:03:48,224 --> 01:03:52,183
designers would be at their drawing
boards, one, and they'd work at the
458
01:03:52,261 --> 01:03:55,997
drawing boards. They would maybe
have some magazines and things to
459
01:03:56,032 --> 01:04:04,462
look at to inspire them. One of the things that I
did when I came was drag people out of the studio
460
01:04:04,574 --> 01:04:11,480
into the environment, and put designers
in the position of looking at people,
461
01:04:11,581 --> 01:04:16,985
and going through the steps that other people
were going through as a source of inspiration.
462
01:04:26,529 --> 01:04:31,489
It's really about trying to make an empathic
connection with people in their context.
463
01:04:32,935 --> 01:04:34,766
Is that Helvetica?
464
01:04:34,837 --> 01:04:36,930
It's not Helvetica, no.
465
01:04:37,106 --> 01:04:43,272
So that as designers we're picking up
on the vibration of what they're about,
466
01:04:44,914 --> 01:04:49,752
and being able somehow to identify
with that, and have that spur our
467
01:04:49,787 --> 01:04:52,277
creative thinking and creative response.
468
01:05:01,163 --> 01:05:08,035
Technology, and things you keep, things
you love, things that get better with time.
469
01:05:10,239 --> 01:05:12,104
Cool.
470
01:05:13,376 --> 01:05:19,645
I think today, I see my role as a designer to
help define what we should be creating for people,
471
01:05:20,683 --> 01:05:26,144
and the output is not necessarily obviously
a design, it's not obviously a product.
472
01:05:28,257 --> 01:05:33,695
Recently we designed a new banking service
for one of the big banks here in America.
473
01:05:34,363 --> 01:05:39,323
And there are two and a half million
people using that savings account today.
474
01:05:39,969 --> 01:05:44,565
So we're not just giving form to
the thing that has been created.
475
01:05:47,043 --> 01:05:52,538
I think that what designers will do in the future
is to become the reference point for policymakers,
476
01:05:52,615 --> 01:05:57,575
for anybody who wants to create a link between
something that highfaluting and hard to translate,
477
01:05:57,720 --> 01:06:03,352
and reality and people. And I almost envision
them becoming the intellectuals of the future.
478
01:06:03,459 --> 01:06:08,419
I always find it really funny, the French,
whenever they have to talk about the price of gas or
479
01:06:08,497 --> 01:06:13,594
the cheese war with Italy, they go to a philosopher,
right? You know, it's kind of hilarious but
480
01:06:13,703 --> 01:06:20,666
philosophers are the culture generators in France.
I want designers to be the culture generators
481
01:06:20,776 --> 01:06:26,078
all over the world, and some of them really can.
And no matter what, they should become really
482
01:06:26,148 --> 01:06:32,280
fundamental bricks in any kind of policymaking
effort, and more and more that's happening.
483
01:06:32,355 --> 01:06:37,987
But I see designers as designing not any
more objects, per se, in some cases yes,
484
01:06:38,094 --> 01:06:44,966
but also scenarios that are based on objects
that will help people understand the consequences
485
01:06:45,067 --> 01:06:51,495
of their choices. And people like Dunne and Raby
do that, exactly, they call it design for debate.
486
01:06:57,046 --> 01:07:02,177
We use design as a medium to try and
explore ideas, find out things, question.
487
01:07:02,651 --> 01:07:07,315
We've got cinema, fine
arts, literature, craft...
488
01:07:07,390 --> 01:07:11,451
every other medium seems
to have a part that's
489
01:07:11,560 --> 01:07:16,520
dedicated to reflecting on important issues, yet
design, the thing that's responsible for so much
490
01:07:16,665 --> 01:07:21,625
of the built environment around us doesn't do that.
I think that's one of the things that attracts us.
491
01:07:21,737 --> 01:07:26,697
So even though our design ideas are never
really put into mass production, we always try to
492
01:07:26,776 --> 01:07:31,736
suggest that they could be mass-produced or they
could be on the scale of hundreds of thousands,
493
01:07:31,814 --> 01:07:35,773
because that's part of
what we're interested in.
494
01:07:35,918 --> 01:07:40,753
We love the idea that with a product,
or shopping... we love showrooms.
495
01:07:40,923 --> 01:07:46,327
Because what is a showroom, you go in there,
around IKEA and you imagine this is in your home,
496
01:07:46,462 --> 01:07:51,525
you project yourself into this other space. But
you could actually buy that and have it at home.
497
01:07:51,667 --> 01:07:56,502
It's true, when you walk into a gallery, you don't
imagine the sculpture at home and how it's going
498
01:07:56,605 --> 01:08:01,143
to impact on your life. But if you walk into a shop,
whether it's electronics, or furniture, or a car
499
01:08:01,144 --> 01:08:05,546
showroom, you do imagine yourself
experiencing this thing and enjoying it.
500
01:08:06,782 --> 01:08:11,320
So when we do conceptual products, we're hoping
that people will imagine how that will impact
501
01:08:11,321 --> 01:08:13,584
on the way they live their lives.
502
01:08:16,358 --> 01:08:20,954
We were part of an exhibition and
Fiona and I decided to focus on robots.
503
01:08:21,697 --> 01:08:24,427
There are four of them altogether.
504
01:08:24,667 --> 01:08:29,502
One of them, for example, might become the
interface for important data you keep online
505
01:08:29,572 --> 01:08:34,908
or on remote servers. So it's a strange,
wooden shaped object that you pick up
506
01:08:34,977 --> 01:08:39,313
and it has two holes at the top, and you
stare at its eyes for about five minutes.
507
01:08:39,348 --> 01:08:44,081
And when it's checked it's you, it releases
the information. So it's not just a quick glance
508
01:08:44,186 --> 01:08:50,682
at a retinal scanner, but a meaningful stare into this
machine's eyes. And also you feel better, you feel...
509
01:08:52,194 --> 01:08:54,597
"Yes, it gets me," and
then you access it...
510
01:08:54,598 --> 01:08:56,531
"There's no chance it mistook me. "
511
01:08:57,666 --> 01:09:02,626
Another thing we became interested in is as
devices become more clever or more smarter,
512
01:09:02,838 --> 01:09:07,798
one of our roles as designers might be to
handicap the technology and make it dependent on us
513
01:09:07,910 --> 01:09:12,982
in some way, or needy. So we thought it
might be interesting to design one that has
514
01:09:12,983 --> 01:09:16,918
to call the owner over to
it whenever it wants to move.
515
01:09:17,586 --> 01:09:22,546
We really wanted to look at the materiality of
what a robot might be, so one of the key things
516
01:09:22,625 --> 01:09:27,585
we wanted was when someone saw the robots, we
wanted them to go, "Well that's not a robot. "
517
01:09:27,696 --> 01:09:33,868
That's not even within the robot language. But
the minute they ask that question, then they're
518
01:09:33,903 --> 01:09:40,433
immediately thinking, well what is a robot, what a
robot should be, what kind of identity it might have.
519
01:09:41,177 --> 01:09:46,410
People, especially students, often say at the
end of lectures, " But you just design things that
520
01:09:46,482 --> 01:09:51,181
get shown in museums and galleries, shouldn't
you be trying to mass produce?" And because we're
521
01:09:51,353 --> 01:09:55,881
more interested in designing to deal with ideas,
actually putting things into a museum like MoMA
522
01:09:55,991 --> 01:10:00,951
reaches hundreds of thousands of people,
more than if we made a few arty and expensive
523
01:10:01,063 --> 01:10:06,558
prototypes. So I think it depends, I think
we're interested maybe in mass communication
524
01:10:06,635 --> 01:10:08,865
more than mass production.
525
01:10:14,276 --> 01:10:19,543
Industrial design has been so closely tied to
industry, and working within the constraints
526
01:10:19,648 --> 01:10:26,178
set by industry. Very quickly you come to edges
of the spectrum of choice, the official choice,
527
01:10:26,288 --> 01:10:31,749
of what kinds of things that the companies
who produce these products believe people want.
528
01:10:32,661 --> 01:10:37,997
And we know, people want a lot more interesting
things, but so far we haven't managed to...
529
01:10:38,200 --> 01:10:40,395
to cross that gap.
530
01:10:45,374 --> 01:10:52,803
People are creative, by nature, and always not
quite satisfied with the design of something
531
01:10:52,881 --> 01:10:57,841
that they have, that they've
bought. They adapt it.
532
01:11:01,123 --> 01:11:06,584
Is there some way we can better engage
with people's creativity to make more of it
533
01:11:06,695 --> 01:11:11,792
or to enhance what they can do for themselves,
or create the tools or the platforms
534
01:11:11,900 --> 01:11:15,028
from which people can operate.
535
01:11:17,773 --> 01:11:22,733
The tools with which we do
design today are our tools.
536
01:11:23,345 --> 01:11:26,837
We make the shapes, people
buy and use the shapes.
537
01:11:27,116 --> 01:11:32,076
Tomorrow, this will be different. The tools
to make things, and to define your world,
538
01:11:32,154 --> 01:11:34,884
will be available to everybody.
539
01:11:38,360 --> 01:11:43,593
Because of the connected world, the idea of
designing something for a different community
540
01:11:43,699 --> 01:11:48,269
in a different part of the world is
now becoming very much more prevalent.
541
01:11:48,304 --> 01:11:52,502
Before there was a sense that Africa was so
far away you couldn't do anything about it,
542
01:11:52,608 --> 01:11:58,808
but now there seems to be a sense that because of
the connected world, we can make a big difference.
543
01:11:59,381 --> 01:12:06,446
As designers I think we're so far removed from
the actual object. You can design virtually,
544
01:12:06,522 --> 01:12:11,960
prototypes can be made remotely, the actual
product's often manufactured on another continent
545
01:12:12,094 --> 01:12:16,861
That's why a lot of the products we're surrounded
by, a lot of our manufactured environment,
546
01:12:16,965 --> 01:12:20,230
seems too easy, too superficial.
547
01:13:01,110 --> 01:13:08,312
If I had a billion dollars to fund a marketing
campaign, I would launch a campaign on behalf of
548
01:13:08,617 --> 01:13:13,213
"Things you already own,
why not enjoy them today?"
549
01:13:13,789 --> 01:13:18,749
Because we all have so many things, they're
just around, they're in the closet, in the attic,
550
01:13:18,927 --> 01:13:23,432
that we don't even think about anymore, because
there's not enough room left in our brains
551
01:13:23,433 --> 01:13:26,560
because we're so busy processing
all the exciting new developments.
552
01:13:28,404 --> 01:13:33,364
At the end of the day, when you're looking around
at the objects in your house, and you're deciding,
553
01:13:33,475 --> 01:13:38,708
"What here really has value to me?" They're going
to be things that have some meaning in your life.
554
01:13:39,548 --> 01:13:44,508
The hurricane is coming, you have 20 minutes, get
your stuff and go. You're not going to be saying,
555
01:13:44,653 --> 01:13:50,319
"Well that got an amazing write-up in this design
blog. " You're going to pick the most meaningful
556
01:13:50,426 --> 01:13:56,023
objects to you, because those are
the true objects, that truly reflect,
557
01:13:56,098 --> 01:14:01,832
the true story of who you are, and what your
personal narrative is, and the story that you're
558
01:14:01,937 --> 01:14:07,170
telling to yourself and no one else because
that's the only audience that matters.
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