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Revisions

  1. ekesken revised this gist Feb 16, 2013. 1 changed file with 90 additions and 90 deletions.
    180 changes: 90 additions & 90 deletions objectified-tr.srt
    View file
    Original file line number Diff line number Diff line change
    @@ -484,231 +484,231 @@ dünyamızı şimdi, doğayı bile tasarlıyoruz.

    101
    00:13:57,503 --> 00:14:02,463
    I remember the first time I saw an Apple
    product. I remember it so clearly because
    İlk defa bir Apple ürünü gördüğüm anı
    hatırlıyorum. Çok net hatırlıyorum çünkü

    102
    00:14:02,575 --> 00:14:07,842
    it was the first time I
    realized, when I saw this product,
    bu farkettiğim ilk zamandı,
    bu ürünü gördüğümde,

    103
    00:14:08,814 --> 00:14:15,014
    I got a very clear sense of the
    people who designed it and made it.
    çok net bir şekilde algıladım,
    insanların hislerini, onu tasarlayan ve yapan.

    104
    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.
    Tasarımcı olarak kim olduğunun
    bir büyük tanımı dünyaya bakma şeklin.

    105
    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,
    Ve tahmin ediyorum, yaptığın işin lanetlerinden de biri,
    sürekli birşeye bakıyor ve düşünüyorsun,

    106
    00:14:30,936 --> 00:14:36,374
    why is it like that? Why is
    it like that and not like this?
    neden bu şekilde? Neden
    bu şekilde ve şu şekilde değil?

    107
    00:14:38,978 --> 00:14:43,938
    And so in that sense,
    you're constantly designing.
    Ve bu anlamda,
    devamlı tasarlıyorsun.

    108
    00:14:49,255 --> 00:14:54,852
    When we're designing a product, we have to
    look to different attributes of the product,
    Bir ürün tasarladığımızda,
    ürünün farlık özelliklerine banmalıyız,

    109
    00:14:54,960 --> 00:14:59,930
    and some of those attributes will be the
    materials it's made from, and the form
    ve bu özelliklerden bazıları
    üretidiği maddeler, ve şekli

    110
    00:14:59,965 --> 00:15:05,631
    that's connected to those materials. So for
    example with the first iMac that we made,
    bu maddelere bağlı olan. bugune kadarki
    örneklerden yaptığımız ilk iMac,

    111
    00:15:05,704 --> 00:15:10,664
    the primary component of that was the cathode
    ray tube, which was spherical. We would have an
    birincil birleşeni katod ışını
    tüpüydü, küresel olan. Tamamen

    112
    00:15:10,776 --> 00:15:15,679
    entirely different approach to designing something
    like that, than the current iMac, which is a very thin
    farklı bir yaklaşımımız olmalıydı, böyle bir şeyin
    tasarımı için, şu anki iMac'e göre, çok ince

    113
    00:15:15,748 --> 00:15:17,682
    flat-panel display.
    düz panel ekranı olan.

    114
    00:15:17,883 --> 00:15:22,786
    Other issues would be, just physically how
    do you connect to the product, so for example
    Diğer konular, fiziksel olarak
    ürüne nasıl bağlandığın, örneğin

    115
    00:15:22,888 --> 00:15:27,848
    with something like the iPhone,
    everything defers to the display.
    iPhone gibi birşeyi ele alalım,
    herşey ekrana bağlı.

    116
    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.
    Böyle bir üründe en çok yaptığımız şey
    tasarımı yolumuzun üzerinden çıkarmak gibi görünüyor.

    117
    00:15:36,302 --> 00:15:41,672
    And I think when forms develop with that sort
    of reason, and they're not just arbitrary shapes,
    Ve bence şekiller böyle nedenlerle geliştiğinde,
    sadece isteğe keyfi olmuyorlar,

    118
    00:15:42,341 --> 00:15:47,506
    it feels almost inevitable, it feels
    almost un-designed. It feels almost like,
    neredeyse kaçınılmaz hissi veriyor, sanki
    tasarlanmamışcasına. Sanki diyor ki,

    119
    00:15:47,680 --> 00:15:52,344
    well of course it's that way,
    why wouldn't it be any other way.
    tabi ki bu şekilde olmalı,
    neden başka türlü olmasın.

    120
    00:15:58,757 --> 00:16:04,821
    This is the bezel for the iMac. When we remove
    the aluminum for the display in the center,
    Bu iMac için bir kesit. Aliminyumu
    ekran için ortadan çıkardığımızda,

    121
    00:16:04,964 --> 00:16:12,029
    we actually take that material and then
    we can make two keyboard frames from it.
    aslında çıkan malzemeyi alıyor ve sonra
    ondan 2 tane klavye çerçevesi yapabiliyoruz.

    122
    00:16:13,973 --> 00:16:18,933
    These are literally just a couple of the
    stages of how you make the MacBook Air.
    Bunlar Macbook Air yapılırken
    geçilen bir çift aşama.

    123
    00:16:19,044 --> 00:16:26,007
    Rough cutting... this is for the keyboard well.
    And there is just a remarkable efficiency and beauty
    Sert bir kesim... Bu da klavye için.
    Ve fevkalade bir verimlilik ve güzellik var

    124
    00:16:26,218 --> 00:16:33,215
    to how much a single part can do, and one of
    things we push and push ourselves on is trying to
    tek bir parçanın yapabileceklerinde, ve sürekli
    kendimizi zorladığımız, çabaladığımız

    125
    00:16:33,359 --> 00:16:38,956
    figure out, can we do the job
    of those six parts with just one.
    çözmeye çalıştığımız bir şey de, bu 6 parçanın
    yaptığını tek bir parça ile yapabilir miydik.

    126
    00:16:39,665 --> 00:16:48,630
    This part actually starts off as this extrusion,
    this is an aluminum extrusion that goes through
    Bu parça aslında bu çıkarma ile başlıyor,
    bu alimunyum çıkarma

    127
    00:16:48,874 --> 00:16:56,747
    multiple operations, most of them
    CNC machined operations, to end up...
    çoklu işlemlerden geçiyor, birçoğu
    CNC makine işlemleri, ve sonuçta...

    128
    00:16:59,518 --> 00:17:05,650
    to end up with this part. And you can
    see, just a dramatic transformation
    bu parçaya varılıyor. Ve görüyorsunuz ki
    çok dramatik bir dönüşüm

    129
    00:17:05,791 --> 00:17:11,252
    between this raw blank and the
    final part. But what we end up with,
    bu yalın boş haliyle son hali
    arasında. Ama sonuçta,

    130
    00:17:11,397 --> 00:17:19,361
    is a part that's got all of the mounting features,
    all of the bosses... this is just one part,
    bu bir parça, tüm bu bağlantı özellikleri,
    tüm bu kabartmalar... bu sadece bir parça,

    131
    00:17:19,505 --> 00:17:24,943
    but this one part is providing
    so much functionality.
    ama bu parça çok fazla
    işlev sunuyor.

    132
    00:17:25,177 --> 00:17:29,341
    And this one part really
    does enable this product.
    Ve bu parça gerçekten
    ürünü etkin hale getiriyor.

    133
    00:17:29,481 --> 00:17:36,751
    So much of the effort behind a product
    like the MacBook Air was experimenting
    Macbook Air gibi bir ürünün arkasındaki
    çabanın çoğu deneyimlemek

    134
    00:17:36,855 --> 00:17:41,815
    with different processes. There's
    a... it's completely non-obvious,
    farklı işlemleri. Bir şey
    var... bu tamamen belirsiz,

    135
    00:17:41,994 --> 00:17:47,523
    but the way that you hold... to
    get from this part, to this part...
    ama parçayı tutma şekliniz...
    bu parçadan bu parçaya...

    136
    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.
    inanılmaz karmaşık düzenek serileri var
    bu parçayı tutmak için, değişik makine aşamalarında.

    137
    00:17:56,742 --> 00:18:00,610
    And we end up spending a lot
    of time designing fixtures.
    Ve çok zaman harcıyoruz
    bu düzenekleri tasarlamak için.

    138
    00:18:01,280 --> 00:18:05,876
    The design of this, in many ways
    wasn't the design of a physical thing,
    Bunun tasarımı, bir çok yönden
    fiziksel bir şeyin tasarımı değil,

    139
    00:18:05,984 --> 00:18:08,782
    it was figuring out process.
    bir süreci tasarlamak.

    140
    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
    Bir üründe çok önemli olan
    hierarşik olarak neyin önemli

    141
    00:18:13,559 --> 00:18:18,360
    and what's not important, by removing those
    things that are all vying for your attention.
    neyin olmadığı hissinin olmasıdır, bu parçaları
    kaldırdığımızda, dikkatinizi çekmek için yarışan tüm parçalar.

    142
    00:18:18,597 --> 00:18:22,761
    An indicator has a value when
    it's indicating something.
    Bir göstergenin anlamı
    bir şey gösteriyorsa vardır.

    143
    00:18:22,868 --> 00:18:27,066
    But if it's not indicating
    something, it shouldn't be there.
    Eğer bir şey göstermiyorsa
    orda olmamalı.

    144
    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.
    En komik şeylerden biri, çok fazla zaman harcamanızdır,
    bir şeyi daha az dikkat çekici ve belirgin yapmak için.

    145
    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
    Ve eğer düşünecek olursanız, çevrelendiğimiz
    ürünlerin bir çoğu, sizin

    146
    00:18:39,184 --> 00:18:43,985
    aware of just how
    clever the solution was.
    çözümün ne kadar akıllıca olduğunun
    çok farkında olmanızı diler.

    147
    00:18:44,223 --> 00:18:49,752
  2. ekesken revised this gist Feb 16, 2013. 1 changed file with 12 additions and 12 deletions.
    24 changes: 12 additions & 12 deletions objectified-tr.srt
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    Original file line number Diff line number Diff line change
    @@ -454,33 +454,33 @@ ya da üzerine düşünmeden.

    95
    00:10:50,883 --> 00:10:56,719
    Japanese gardeners, the
    bonsai must be cut in a way,
    Japon bahçivanları,
    bonsai öyle bir şekilde kesilmeli ki,

    96
    00:10:57,289 --> 00:11:03,717
    that a small bird can fly
    through it. It's nice, isn't it?
    küçük bir kuş içinden uçarak
    geçebilmeli. Güzel, değil mi?

    97
    00:11:05,297 --> 00:11:09,927
    But all the other trees,
    you also have to cut them.
    Ama tüm diğer ağaçlar,
    onları da kesmelisiniz.

    98
    00:11:10,536 --> 00:11:16,497
    It's much more so, in Japan. They
    have to cut them, they have to...
    Japonya'da daha çok. Onları
    kesmek zorundalar, zorundalar...

    99
    00:11:16,676 --> 00:11:21,636
    we would say... to design them.
    But why are we doing all this?
    nasıl söylesek... onları tasarlamak için.
    Ama tüm bunları neden yapıyoruz?

    100
    00:11:21,781 --> 00:11:27,549
    We are doing a lot, to design our
    world now, we even design the nature.
    Çok çaba harcıyoruz, tasarlamak için
    dünyamızı şimdi, doğayı bile tasarlıyoruz.

    101
    00:13:57,503 --> 00:14:02,463
  3. ekesken revised this gist Feb 16, 2013. 1 changed file with 16 additions and 16 deletions.
    32 changes: 16 additions & 16 deletions objectified-tr.srt
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    @@ -414,43 +414,43 @@ ergonomisini kontrol edebiliyoruz.

    87
    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
    2 yarım parça halinde çıkıyor
    makineden, ve birbirine yapıştırıp

    88
    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
    tam bir sap yapabilirsin, bunun gibi prototiplere
    bağlayıp, deneyerek

    89
    00:10:02,868 --> 00:10:07,828
    comfort and work with it, and make sure our CAD
    model really represents our design intention.
    konforunu hissedip, kullanabiliyoruz, CAD modelimizin
    gerçekten tasarım maksadımızı karşıladığından emin oluyoruz.

    90
    00:10:11,143 --> 00:10:16,103
    The way we think of design is, let's
    put great design into everyday things,
    Tasarım hakkında düşünme şeklimiz şöyle, hadi
    gündelik kullanılan şeylere harika tasarımlar uygulayalım,

    91
    00:10:16,315 --> 00:10:19,910
    and understand how to make
    these gadgets perform better.
    ve bu aletlerin nasıl daha iyi
    performans göstereceğini anlayalım.

    92
    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
    Ve tasarım yaparken her zaman And that's what we're always looking for
    aradığımız şey, geliştirebileceğimiz yeni yollar whenever we design are ways we can improve

    93
    00:10:25,091 --> 00:10:29,221
    the way people do things,
    or improve their daily life,
    insanların iş yaparken seçtiği yol,
    ya da gündelik yaşamlarını geliştirmek,

    94
    00:10:29,295 --> 00:10:34,028
    without them even knowing
    it or thinking about it.
    onlar farkına varmadan
    ya da üzerine düşünmeden.

    95
    00:10:50,883 --> 00:10:56,719
  4. ekesken revised this gist Feb 16, 2013. 1 changed file with 7 additions and 7 deletions.
    14 changes: 7 additions & 7 deletions objectified-tr.srt
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    @@ -395,22 +395,22 @@ onları daha yakından kontrol edebileceğimiz

    83
    00:09:30,469 --> 00:09:34,963
    It's very important that we
    constantly are verifying our CAD
    Çok önemli olan sürekli
    CAD çizimlerini doğruluyor olmamız

    84
    00:09:35,074 --> 00:09:37,440
    with physical models.
    fiziksel modellerle.

    85
    00:09:39,078 --> 00:09:43,845
    Once you get into that, we use a set of
    technologies that are called rapid prototyping,
    Bir kere işin içine girdiğinizde, bir grup
    teknoloji kullanıyoruz, hızlı prototip çıkarmak için,

    86
    00:09:43,983 --> 00:09:48,943
    so we can really finely control
    the ergonomics of these parts.
    böylece gerçekten hassasiyetle parçaların
    ergonomisini kontrol edebiliyoruz.

    87
    00:09:50,690 --> 00:09:55,650
  5. ekesken revised this gist Feb 15, 2013. 1 changed file with 12 additions and 12 deletions.
    24 changes: 12 additions & 12 deletions objectified-tr.srt
    View file
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    @@ -362,36 +362,36 @@ diğer bahçe makaslarıyla karşılaştıracak olursanız, bir çoğu
    76
    00:08:50,596 --> 00:08:57,126
    sadece daha düz bir sapa sahiptir,
    ağırlık üzerinde herhangi bir kontrolünüz yoktur. So if you're cutting
    ağırlık üzerinde herhangi bir kontrolünüz yoktur. Eğer kestiğiniz şey

    77
    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
    çok aşağıdaysa, daha sert şıkıştırmalısınız ki you have to squeeze harder to hold
    aleti yerinde tutabilin, yoksa

    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,
    elinizden kayar. Sapta bu alanı oyuk bırakarak,
    elinizin bu şeklin etrafına kilitlemesini sağladık,

    79
    00:09:09,715 --> 00:09:14,550
    so you have to squeeze less, so
    you have a really secure grip.
    böyle daha az şıkıştırmanız yeterli, bu şekilde
    çok emniyetli bir tutuşunuz var.

    80
    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
    Gerçekten tasarımımızın son aşamalarındayız,
    burada, koyduğumuz yer

    81
    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
    onları daha yakından kontrol edebileceğimiz
    üretime hazır hale getirmek için CAD ya da

    82
    00:09:28,000 --> 00:09:30,298
    or Computer Aided Design.
    'Computer Aided Design' diye bilinen ortamdır.

    83
    00:09:30,469 --> 00:09:34,963
  6. ekesken revised this gist Feb 15, 2013. 1 changed file with 22 additions and 22 deletions.
    44 changes: 22 additions & 22 deletions objectified-tr.srt
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    @@ -273,7 +273,7 @@ hiç kimsenin üzerine düşünmediği.

    58
    00:07:15,568 --> 00:07:21,302
    Ve düşündük ki, eğer eklem iltihabı olanlar için
    Ve düşündük ki, eğer eklem problemi olanlar için
    işe yarar birşey yapabilirsek, bunları diğerleri de kullanacaktır.

    59
    @@ -293,7 +293,7 @@ daha az bir kuvvetle daha kolay kavrayabilirler.

    62
    00:07:36,589 --> 00:07:41,356
    Tutamacın şekliyle ilgili bir çok çalışma
    Sapın şekliyle ilgili bir çok çalışma
    yaptık, boyutuyla ilgili, ve herkes için

    63
    @@ -303,7 +303,7 @@ ideal bir boyuta ulaştık.
    64
    00:07:44,363 --> 00:07:49,960
    Ama sonunda kauçuk bir
    bisiklet kolu bulduk, ve bunu yaptık.
    bisiklet kolu bulduk, ve temelde bunu yaptık.

    65
    00:07:52,004 --> 00:07:56,964
    @@ -317,52 +317,52 @@ bu sonuca varmış olduk.

    67
    00:08:04,817 --> 00:08:09,686
    Bence bahçe makasıyla ilgili bir nokta
    kapatırken sürekli
    Bence bahçe makasıyla ilgili bir nokta,
    devamlı bir sürtünme olması

    68
    00:08:09,789 --> 00:08:11,780
    bir sürtünmeye maruz kalmanız.
    kapatırken.

    69
    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.
    Ama bana göre sanki şu nokta gerçekten
    acıtıyor, burası en büyük basınç noktası benim için.

    70
    00:08:16,395 --> 00:08:21,355
    So it's like here in this area, on
    all four fingers, you have friction.
    Sanki bu alanda, tüm
    4 parmağın üzerinde, sürtünme hissediyorsun.

    71
    00:08:22,969 --> 00:08:27,668
    So when we start out doing a project,
    looking at these different tools to understand
    Bir projeyi yapmaya başladığımızda
    bu değişik araçlara bakıyoruz, anlamak için,

    72
    00:08:28,074 --> 00:08:33,034
    how we can design a better
    experience for someone, ergonomically
    biri için nasıl daha iyi bir
    deneyim yaratabiliriz, ergonomik olarak

    73
    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
    Aslında burada yaptığımız haritasını çıkarmak,
    hareketi eldiven ile yaptığımızda, anlıyoruz

    74
    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.
    basınç noktaları nerede, sonra bazı
    fikirlerin modelini geliştirdiğimiz bu sürecin içine giriyoruz.

    75
    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
    Bu model ile ilgili farkettiğimiz bir şey, eğer
    diğer bahçe makaslarıyla karşılaştıracak olursanız, bir çoğu

    76
    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
    sadece daha düz bir sapa sahiptir,
    ağırlık üzerinde herhangi bir kontrolünüz yoktur. So if you're cutting

    77
    00:08:57,236 --> 00:09:01,764
  7. ekesken revised this gist Feb 15, 2013. 1 changed file with 7 additions and 7 deletions.
    14 changes: 7 additions & 7 deletions objectified-tr.srt
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    @@ -253,22 +253,22 @@ Bir gece bir telefon geldi, sesi

    54
    00:06:54,380 --> 00:06:59,181
    Betsy ile yemek yapıyorlar,
    eşi elmalı turtayı yaparken
    Ve onu bu kadar heyecanlandıran şuydu,
    Betsy ile akşam yemeğini yapıyormuş, eşi

    55
    00:06:59,318 --> 00:07:04,551
    ellerini acıtan soyucudan
    şikayet edip duruyor.
    elmalı turtayı yapıyor, bıçaktan
    şikayet edip duruyor, elini acıtıyor

    56
    00:07:04,690 --> 00:07:11,152
    Eklem iltihabı problemi vardı,
    ve bir türlü soyucuyu tutamıyordu. Bu Sam'i o an çok
    Eklem problemi vardı, ve bir türlü
    tutamıyordu. Sam'in aklında o an şimşekler

    57
    00:07:11,330 --> 00:07:15,266
    etkiledi, işte yeni bir ürün
    çaktı, işte yeni bir ürün
    hiç kimsenin üzerine düşünmediği.

    58
  8. ekesken revised this gist Feb 15, 2013. 1 changed file with 6 additions and 6 deletions.
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    @@ -118,7 +118,7 @@ birşey hakkında.

    26
    00:04:31,104 --> 00:04:36,508
    Bu özel kürdan This particular toothpick is a
    Bu özel kürdan
    bir Japon kürdanı, ama besbelli

    27
    @@ -127,17 +127,17 @@ Amerika'da satılması için üretilmiş.

    28
    00:04:39,145 --> 00:04:44,105
    Peki bunu ilginç kılan ne, bir nesne
    tipini uzun yıllar boyunca
    Ama kendisini ilginç kılan, bir nesne
    tipinin geçirdiği dünüşümdür

    29
    00:04:44,217 --> 00:04:49,188
    evrilmesi. Farkedeceksiniz ki
    uzun yıllar boyunca. Farkedeceksiniz ki
    uç noktası

    30
    00:04:49,189 --> 00:04:54,057
    ayrık böylece ucunu kırabilirsiniz.
    tırtıklıdır böylece ucunu koparabilirsiniz.

    31
    00:04:54,160 --> 00:04:58,620
    @@ -200,7 +200,7 @@ böylece tasarım açısından neye ihtiyaç
    43
    00:05:52,752 --> 00:05:58,657
    olduğunu anlamak kolaylaşır,
    mutfakta, hastahanede veya arabada.
    mutfakta, hastanede veya arabada.

    44
    00:06:00,360 --> 00:06:05,261
  9. ekesken revised this gist Feb 15, 2013. 1 changed file with 7 additions and 7 deletions.
    14 changes: 7 additions & 7 deletions objectified-tr.srt
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    @@ -71,17 +71,17 @@ büyük problemi okçuların kendi oklarını
    16
    00:03:35,248 --> 00:03:39,947
    kendilerinin üretiyor olmasıydı.
    arkadaşı oklarını alıp
    çünkü bir okçu ölürse, arkadaşı sadağından oklarını

    17
    00:03:40,019 --> 00:03:44,979
    savaşa devam edemiyordu
    çünkü oklar kendi yayına uymuyordu.
    alıp düşmana atmaya başlayamıyordu
    çünkü oklar tam olarak kendi yayına uymuyordu.

    18
    00:03:45,058 --> 00:03:50,086
    ilk imparator ve danışmanları
    okların tasarımını standartlaştıracak bir yola başvurur
    okların tasarımını standartlaştıracak bir yol düşünürler

    19
    00:03:50,163 --> 00:03:53,394
    @@ -94,7 +94,7 @@ insanların biri tarafından tasarlandığını düşünmediği şeylerdir

    21
    00:04:01,874 --> 00:04:06,937
    örneğin Post-it!.
    örneğin Post-it'i düşünün!.
    İnsanlar tasarlanmış bir şey olduğunu

    22
    @@ -104,8 +104,8 @@ sabah gözlerimizi açtığımız andan itibaren

    23
    00:04:12,185 --> 00:04:17,487
    dünyamızı dolduran her şey
    bir şekilde tasarlanmış bir üründür.
    dünyamızı dolduran neredeyse her şey
    o ya da bu şekilde tasarlanmıştır.

    24
    00:04:23,630 --> 00:04:28,590
  10. ekesken revised this gist Feb 15, 2013. 1 changed file with 8 additions and 8 deletions.
    16 changes: 8 additions & 8 deletions objectified-tr.srt
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    @@ -19,17 +19,17 @@ hayal eden, üzerine düşünen,

    5
    00:01:32,093 --> 00:01:35,926
    geliştiren, üreten insanları yüceltir.
    geliştiren, üreten insanları yüceltir,

    6
    00:01:37,230 --> 00:01:42,167
    farklı biçimlere dönüşen,
    biçimden biçime dönüşerek,
    maddeye, mimarisine,

    7
    00:01:42,502 --> 00:01:46,836
    size nasıl bağlantı kurduğu, nasıl
    dokunduğu, nasıl tuttuğunuz
    sizinle bağlantı kurduğu haline,
    dokunduğunuz, tuttuğunuz haline bürünür.

    8
    00:01:47,373 --> 00:01:51,241
    @@ -313,16 +313,16 @@ daha fazla yinelemeyle
    66
    00:07:57,109 --> 00:08:02,069
    sonunda görece daha basit olan
    bu sonuca varmıs olduk.
    bu sonuca varmış olduk.

    67
    00:08:04,817 --> 00:08:09,686
    I think one thing with a hand pruner is that
    you have this constant friction happening
    Bence bahçe makasıyla ilgili bir nokta
    kapatırken sürekli

    68
    00:08:09,789 --> 00:08:11,780
    when you're closing it.
    bir sürtünmeye maruz kalmanız.

    69
    00:08:11,924 --> 00:08:16,258
  11. ekesken revised this gist Feb 8, 2013. 1 changed file with 1 addition and 1 deletion.
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    @@ -313,7 +313,7 @@ daha fazla yinelemeyle
    66
    00:07:57,109 --> 00:08:02,069
    sonunda görece daha basit olan
    bu bir sonuca varmıs olduk.
    bu sonuca varmıs olduk.

    67
    00:08:04,817 --> 00:08:09,686
  12. ekesken revised this gist Feb 8, 2013. 1 changed file with 6 additions and 6 deletions.
    12 changes: 6 additions & 6 deletions objectified-tr.srt
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    @@ -302,18 +302,18 @@ ideal bir boyuta ulaştık.

    64
    00:07:44,363 --> 00:07:49,960
    But eventually we found a rubberized
    bicycle grip, and we basically did this.
    Ama sonunda kauçuk bir
    bisiklet kolu bulduk, ve bunu yaptık.

    65
    00:07:52,004 --> 00:07:56,964
    So, it really goes through many, many,
    more iterations than you would think
    Böylece, aslında tahmininizden çok çok
    daha fazla yinelemeyle

    66
    00:07:57,109 --> 00:08:02,069
    to do a handle that's
    relatively simple in the end.
    sonunda görece daha basit olan
    bu bir sonuca varmıs olduk.

    67
    00:08:04,817 --> 00:08:09,686
  13. ekesken revised this gist Feb 6, 2013. 1 changed file with 9 additions and 9 deletions.
    18 changes: 9 additions & 9 deletions objectified-tr.srt
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    Original file line number Diff line number Diff line change
    @@ -278,27 +278,27 @@ işe yarar birşey yapabilirsek, bunları diğerleri de kullanacaktır.

    59
    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
    Daha büyük bir sapı olması gerektiğini biliyorduk.
    Çocukların büyük pastel boyaları vardır çünkü daha rahat

    60
    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,
    tutarlar. Elini tam anlamıyla kullanamayan
    biri için de durum aynıdır,

    61
    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.
    daha geniş birşeye ihtiyaç duyarlar, böylece
    daha az bir kuvvetle daha kolay kavrayabilirler.

    62
    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
    Tutamacın şekliyle ilgili bir çok çalışma
    yaptık, boyutuyla ilgili, ve herkes için

    63
    00:07:41,427 --> 00:07:44,260
    that would be perfect for everybody.
    ideal bir boyuta ulaştık.

    64
    00:07:44,363 --> 00:07:49,960
  14. ekesken revised this gist Feb 6, 2013. 1 changed file with 18 additions and 18 deletions.
    36 changes: 18 additions & 18 deletions objectified-tr.srt
    View file
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    @@ -233,48 +233,48 @@ ortadakiler başlarının çaresine bakacaktır.

    50
    00:06:33,059 --> 00:06:37,496
    These are actually things I
    haven't seen in 1,000 years.
    Aslına bakarsanız bunlar
    1000 yıldır görmediğim şeyler.

    51
    00:06:38,598 --> 00:06:43,558
    We tried to use less material, like
    here's one that's hollow inside.
    Daha az meteryal kullanmaya çalıştık
    örneğin şu içi oyuk olan.

    52
    00:06:44,437 --> 00:06:49,397
    Agood friend of mine, Sam Farber, he
    was vacationing with his wife, Betsy.
    Yakın bir arkadaşım, Sam Farber,
    eşiyle tatil yapıyordu, Betsy.

    53
    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.
    Bir gece bir telefon geldi, sesi
    çok heyecanlıydı, uyku tutmadığını söylüyordu.

    54
    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
    Betsy ile yemek yapıyorlar,
    eşi elmalı turtayı yaparken

    55
    00:06:59,318 --> 00:07:04,551
    an apple tart. And she was complaining about
    the peeler, that it was hurting her hands.
    ellerini acıtan soyucudan
    şikayet edip duruyor.

    56
    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
    Eklem iltihabı problemi vardı,
    ve bir türlü soyucuyu tutamıyordu. Bu Sam'i o an çok

    57
    00:07:11,330 --> 00:07:15,266
    that here's a product that
    nobody's really thought about.
    etkiledi, işte yeni bir ürün
    hiç kimsenin üzerine düşünmediği.

    58
    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.
    Ve düşündük ki, eğer eklem iltihabı olanlar için
    işe yarar birşey yapabilirsek, bunları diğerleri de kullanacaktır.

    59
    00:07:21,974 --> 00:07:26,968
  15. ekesken revised this gist Feb 4, 2013. 1 changed file with 1 addition and 1 deletion.
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    @@ -5,7 +5,7 @@ Bir nesne gördüğünüzde,
    2
    00:01:11,404 --> 00:01:16,865
    bir çok varsayımda bulunursunuz
    o nesne hakkında... birkaç saniye içinde.
    o nesne hakkında... birkaç saniye içerisinde.

    3
    00:01:17,777 --> 00:01:24,205
  16. ekesken revised this gist Feb 4, 2013. 1 changed file with 22 additions and 22 deletions.
    44 changes: 22 additions & 22 deletions objectified-tr.srt
    View file
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    @@ -109,7 +109,7 @@ bir şekilde tasarlanmış bir üründür.

    24
    00:04:23,630 --> 00:04:28,590
    Her nesnede gizli bir hikate vardır.
    Her nesnede gizli bir hikaye vardır.
    Verilen her karar, bir noktada,

    25
    @@ -179,57 +179,57 @@ eğer okumasını bilirseniz."

    39
    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
    Biz danışman olarak çalışıyoruz, bu da birçok
    farklı sektörlerde çok fazla firmayla çalışmak demek

    40
    00:05:40,241 --> 00:05:43,835
    But really our common interest
    is in understanding people, and
    Fakat asıl ilgi alanımız
    insanları anlamak, ve

    41
    00:05:43,943 --> 00:05:48,347
    what their needs are. So if you
    start to think, really what these
    neye ihtiyaçları olduklarını. Eğer
    düşünecek olursanız, danışman olarak

    42
    00:05:48,548 --> 00:05:52,717
    do as consultants is focus on
    people, then it's easy to think
    asıl işimiz insana odaklanmak,
    böylece tasarım açısından neye ihtiyaç

    43
    00:05:52,752 --> 00:05:58,657
    about what's needed design-wise in the
    kitchen, or the hospital, or in the car.
    olduğunu anlamak kolaylaşır,
    mutfakta, hastahanede veya arabada.

    44
    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,
    Alıcılarımız gelir ve der ki, işte
    bu bizim ortalama müşterimiz, örneğin

    45
    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
    34 yaşında bir bayan, 2 ya da 3 çocuğu var. Ve biz
    nazikçe dinler ve şöyle söyleriz, evet bu harika

    46
    00:06:10,336 --> 00:06:15,865
    we don't care about that person.
    What we really need to do to design,
    ama biz bu kişiyle ilgilenmiyoruz.
    Tasarım için asıl yapılması gereken,

    47
    00:06:16,042 --> 00:06:21,446
    is look at the extremes, the weakest, or
    the person with arthritis, or the athlete,
    uç noktalara bakmak, en zayıfa, veya
    eklem ağrısı olana veya bir atlete,

    48
    00:06:21,547 --> 00:06:26,507
    or the strongest or the fastest person.
    Because if we understand what the extremes are,
    veya en güçlü olana, veya en hızlısına.
    Çünkü uç örnekleri anlayabilirsek,

    49
    00:06:27,120 --> 00:06:31,113
    the middle will take care of itself.
    ortadakiler başlarının çaresine bakacaktır.

    50
    00:06:33,059 --> 00:06:37,496
  17. ekesken revised this gist Feb 4, 2013. 1 changed file with 26 additions and 26 deletions.
    52 changes: 26 additions & 26 deletions objectified-tr.srt
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    @@ -65,7 +65,7 @@ bölgeleri kolonileştirmek için

    15
    00:03:30,543 --> 00:03:35,173
    savaş veriyordu, ve en
    bir savaş veriyordu, ve en
    büyük problemi okçuların kendi oklarını

    16
    @@ -109,73 +109,73 @@ bir şekilde tasarlanmış bir üründür.

    24
    00:04:23,630 --> 00:04:28,590
    There is a story embedded in every object.
    Every decision was made, at some point,
    Her nesnede gizli bir hikate vardır.
    Verilen her karar, bir noktada,

    25
    00:04:28,701 --> 00:04:30,692
    about something.
    birşey hakkında.

    26
    00:04:31,104 --> 00:04:36,508
    This particular toothpick is a
    Japanese toothpick, but obviously it's
    Bu özel kürdan This particular toothpick is a
    bir Japon kürdanı, ama besbelli

    27
    00:04:36,609 --> 00:04:39,043
    manufactured for sale in the US.
    Amerika'da satılması için üretilmiş.

    28
    00:04:39,145 --> 00:04:44,105
    But what's interesting about it is, it's the
    evolution of a type of object that happens
    Peki bunu ilginç kılan ne, bir nesne
    tipini uzun yıllar boyunca

    29
    00:04:44,217 --> 00:04:49,188
    over many years. You'll
    notice that the end of it
    evrilmesi. Farkedeceksiniz ki
    uç noktası

    30
    00:04:49,189 --> 00:04:54,057
    is serrated so you could break it off.
    ayrık böylece ucunu kırabilirsiniz.

    31
    00:04:54,160 --> 00:04:58,620
    And this was to signify
    that it was used.
    Ve bu kullanılmış
    olduğunu belirtmek içindi.

    32
    00:04:58,698 --> 00:05:03,067
    But it also creates a tiny
    rest for the toothpick.
    Ama aynı zamanda kürdan için
    ince bir dayanak haline dönüşür

    33
    00:05:03,436 --> 00:05:08,100
    Obviously that Japanese-style toothpick has
    a specific cultural context where that kind of
    Belli ki bu japon stili kürdan
    çok özel kültürel bir bağlama sahip

    34
    00:05:08,174 --> 00:05:13,407
    functionality makes sense, and that kind of
    ritual makes sense. It might not be used that way
    işlevini anlamlı kılan, böyle bir
    ritüelin anlamlı olduğu. Amerika'da bu şekilde

    35
    00:05:13,513 --> 00:05:18,678
    at all in the United States. But what's
    fascinating about these little stories
    kullanılmayabilir. Ama asıl
    büyüleyici olan nesnelerde

    36
    00:05:18,785 --> 00:05:23,745
    that get embedded in objects is that I'm
    reminded of a quote by Henry Ford, who once said,
    saklı bu kısa hikayerlerdir. Bu bana
    Henry Ford'un bir sözünü hatırlatır,

    37
    00:05:23,890 --> 00:05:26,882
    "Every object tells a story...
    "Her nesne bir hikaye anlatır...

    38
    00:05:27,760 --> 00:05:30,228
    if you know how to read it. "
    eğer okumasını bilirseniz."

    39
    00:05:35,301 --> 00:05:40,206
  18. ekesken revised this gist Feb 4, 2013. 1 changed file with 1 addition and 1 deletion.
    2 changes: 1 addition & 1 deletion objectified-tr.srt
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    @@ -37,7 +37,7 @@ Her nesne, kasıtlı veya değil,

    9
    00:01:53,480 --> 00:01:56,040
    kendisini oraya koyan ile konuşur.
    kendisini ortaya koyan ile konuşur.

    10
    00:03:11,558 --> 00:03:15,654
  19. ekesken created this gist Feb 4, 2013.
    2,739 changes: 2,739 additions & 0 deletions objectified-tr.srt
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    @@ -0,0 +1,2739 @@
    1
    00:01:08,835 --> 00:01:10,894
    Bir nesne gördüğünüzde,

    2
    00:01:11,404 --> 00:01:16,865
    bir çok varsayımda bulunursunuz
    o nesne hakkında... birkaç saniye içinde.

    3
    00:01:17,777 --> 00:01:24,205
    Ne yapar, işini ne kadar iyi yapacak, ne
    kadar ağır, ne kadar eder.

    4
    00:01:27,987 --> 00:01:32,092
    Bir nesne kendisini
    hayal eden, üzerine düşünen,

    5
    00:01:32,093 --> 00:01:35,926
    geliştiren, üreten insanları yüceltir.

    6
    00:01:37,230 --> 00:01:42,167
    farklı biçimlere dönüşen,
    maddeye, mimarisine,

    7
    00:01:42,502 --> 00:01:46,836
    size nasıl bağlantı kurduğu, nasıl
    dokunduğu, nasıl tuttuğunuz

    8
    00:01:47,373 --> 00:01:51,241
    Her nesne, kasıtlı veya değil,

    9
    00:01:53,480 --> 00:01:56,040
    kendisini oraya koyan ile konuşur.

    10
    00:03:11,558 --> 00:03:15,654
    Endüstriyel tasarımın amacı
    her zaman seri üretim olmuştur.

    11
    00:03:15,762 --> 00:03:19,065
    Milyonlarca insan tarafından
    kullanılması için

    12
    00:03:19,066 --> 00:03:21,295
    standartlaştırılmış nesneler üretir.

    13
    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

    15
    00:03:30,543 --> 00:03:35,173
    savaş veriyordu, ve en
    büyük problemi okçuların kendi oklarını

    16
    00:03:35,248 --> 00:03:39,947
    kendilerinin üretiyor olmasıydı.
    arkadaşı oklarını alıp

    17
    00:03:40,019 --> 00:03:44,979
    savaşa devam edemiyordu
    çünkü oklar kendi yayına uymuyordu.

    18
    00:03:45,058 --> 00:03:50,086
    ilk imparator ve danışmanları
    okların tasarımını standartlaştıracak bir yola başvurur

    19
    00:03:50,163 --> 00:03:53,394
    böylece her ok herhangi bir yaya uyabilecekti.

    20
    00:03:56,336 --> 00:04:01,740
    Endüstriyel tasarımın en iyi örnekleri çoğu zaman
    insanların biri tarafından tasarlandığını düşünmediği şeylerdir

    21
    00:04:01,874 --> 00:04:06,937
    örneğin Post-it!.
    İnsanlar tasarlanmış bir şey olduğunu

    22
    00:04:07,046 --> 00:04:11,608
    düşünmez, şunun farkında değillerdir,
    sabah gözlerimizi açtığımız andan itibaren

    23
    00:04:12,185 --> 00:04:17,487
    dünyamızı dolduran her şey
    bir şekilde tasarlanmış bir üründür.

    24
    00:04:23,630 --> 00:04:28,590
    There is a story embedded in every object.
    Every decision was made, at some point,

    25
    00:04:28,701 --> 00:04:30,692
    about something.

    26
    00:04:31,104 --> 00:04:36,508
    This particular toothpick is a
    Japanese toothpick, but obviously it's

    27
    00:04:36,609 --> 00:04:39,043
    manufactured for sale in the US.

    28
    00:04:39,145 --> 00:04:44,105
    But what's interesting about it is, it's the
    evolution of a type of object that happens

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    over many years. You'll
    notice that the end of it

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    is serrated so you could break it off.

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    And this was to signify
    that it was used.

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    But it also creates a tiny
    rest for the toothpick.

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    Obviously that Japanese-style toothpick has
    a specific cultural context where that kind of

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    functionality makes sense, and that kind of
    ritual makes sense. It might not be used that way

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    at all in the United States. But what's
    fascinating about these little stories

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    that get embedded in objects is that I'm
    reminded of a quote by Henry Ford, who once said,

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    "Every object tells a story...

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    if you know how to read it. "

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    We work as consultants, which means we work with a
    lot of different companies in a lot of different fields

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    But really our common interest
    is in understanding people, and

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    what their needs are. So if you
    start to think, really what these

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    do as consultants is focus on
    people, then it's easy to think

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    about what's needed design-wise in the
    kitchen, or the hospital, or in the car.

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    We have clients come to us and say, here's our
    average customer, for instance she's female,

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    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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    we don't care about that person.
    What we really need to do to design,

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    is look at the extremes, the weakest, or
    the person with arthritis, or the athlete,

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    or the strongest or the fastest person.
    Because if we understand what the extremes are,

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    the middle will take care of itself.

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    These are actually things I
    haven't seen in 1,000 years.

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    We tried to use less material, like
    here's one that's hollow inside.

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    Agood friend of mine, Sam Farber, he
    was vacationing with his wife, Betsy.

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    I got a phone call one night, he was
    so excited he said he couldn't sleep.

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    And what he was excited about was he'd been
    cooking dinner with Betsy and she was making

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    an apple tart. And she was complaining about
    the peeler, that it was hurting her hands.

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    She had arthritis, and she just couldn't
    hang on to it. And it hit Sam at that moment

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    that here's a product that
    nobody's really thought about.

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    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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    We knew that it had to be a bigger handle.
    Kids have big crayons because they're easier

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    to hold onto. It's the same thing for somebody
    that might not have full mobility of the their hand,

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    they need something a little bit larger, that's
    a little easier to grip with a little less force.

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    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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    that would be perfect for everybody.

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    But eventually we found a rubberized
    bicycle grip, and we basically did this.

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    So, it really goes through many, many,
    more iterations than you would think

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    to do a handle that's
    relatively simple in the end.

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    I think one thing with a hand pruner is that
    you have this constant friction happening

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    when you're closing it.

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    But I feel like here's the spot that really
    hurts, this is the biggest pressure point for me.

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    So it's like here in this area, on
    all four fingers, you have friction.

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    So when we start out doing a project,
    looking at these different tools to understand

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    how we can design a better
    experience for someone, ergonomically

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    So what we did here was to map it out, when we did
    the exercise with the glove, understanding where

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    the pressure points are, then we go into this
    process of developing models of some of the ideas.

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    One thing we realized with this model, if you
    compare with other hedge shears, a lot of them

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    just have a straight handle, you don't have any
    control over the weight. So if you're cutting

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    far down, you have to squeeze harder to hold
    the tool in place, otherwise it's going to slide

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    out of your hands. So by sculpting this handle
    area, it locks your hand around this form,

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    so you have to squeeze less, so
    you have a really secure grip.

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    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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    control them much more closely to get them
    ready for manufacture, and that is known as CAD

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    or Computer Aided Design.

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    It's very important that we
    constantly are verifying our CAD

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    with physical models.

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    Once you get into that, we use a set of
    technologies that are called rapid prototyping,

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    so we can really finely control
    the ergonomics of these parts.

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    So there are the two halves that come out of the
    machine, and you can glue them together to make

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    an entire handle, and attach them to prototypes
    such as this so we can go out and feel the

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    comfort and work with it, and make sure our CAD
    model really represents our design intention.

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    The way we think of design is, let's
    put great design into everyday things,

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    and understand how to make
    these gadgets perform better.

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    And that's what we're always looking for
    whenever we design are ways we can improve

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    the way people do things,
    or improve their daily life,

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    without them even knowing
    it or thinking about it.

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    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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    we would say... to design them.
    But why are we doing all this?

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    We are doing a lot, to design our
    world now, we even design the nature.

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    I remember the first time I saw an Apple
    product. I remember it so clearly because

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    it was the first time I
    realized, when I saw this product,

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    I got a very clear sense of the
    people who designed it and made it.

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    A big definition of who you are as a designer
    is the way that you look at the world.

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    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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    why is it like that? Why is
    it like that and not like this?

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    And so in that sense,
    you're constantly designing.

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    When we're designing a product, we have to
    look to different attributes of the product,

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    and some of those attributes will be the
    materials it's made from, and the form

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    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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    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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    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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    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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    This part actually starts off as this extrusion,
    this is an aluminum extrusion that goes through

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    multiple operations, most of them
    CNC machined operations, to end up...

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    to end up with this part. And you can
    see, just a dramatic transformation

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    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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    but this one part is providing
    so much functionality.

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    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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    there's an incredibly complex series of fixtures
    to hold this part in the different machine stages.

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    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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    It's really important in a product to have
    a sense of a hierarchy of what's important

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    and what's not important, by removing those
    things that are all vying for your attention.

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    An indicator has a value when
    it's indicating something.

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    But if it's not indicating
    something, it shouldn't be there.

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    It's one of those funny things, you spend so much
    time to make it less conspicuous and less obvious.

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    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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    aware of just how
    clever the solution was.

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    When the indicator comes on, I wouldn't
    expect anybody to point to that as a feature,

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    but at some level I think you're aware
    of a calm and considered solution,

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    that therefore speaks about how you're
    going to use it, not the terrible struggles

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    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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    We now have a new generation of products
    where the form bears absolutely no relation

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    to the function. I mean, look at something like
    an iPhone and think of all the things it does.

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    In "ye olden days" of what are called analog
    products, in other words they're not digital,

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    they're not electronic, something like a chair or
    a spoon. "Form follows function" tended to work.

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    So if say you imagine being a Martian and you
    just land on planet Earth, and you've never seen

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    a spoon or a chair before. You can guess
    roughly what you're supposed to do with them...

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    sit on them or feed yourself with them... by
    the shape of the object, by the way it looks.

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    Now all that has been annihilated by the
    microchip. So design is moving from this culture of

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    the tangible and the material, to an
    increasingly intangible and immaterial culture,

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    and that poses an enormous number of
    tensions and conflicts within design.

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    I think there are really
    three phases of modern design.

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    One of those phases, or approaches if you like,
    is looking at the design in a formal relationship,

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    the formal logic of the object. The
    act of form-giving, form begets form.

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    The second way to look at it is in terms of
    the symbolism, and the content of what you're

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    dealing with. The little rituals that make
    up... making coffee, or using a fork and knife,

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    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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    The third phase is looking at design in a
    contextual sense, in a much bigger-picture scenario.

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    It's looking at the technological context for that
    object, it's looking at the human-object relationship.

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    For the first phase you might have something
    fairly new, like Karim Rashid's Kone vacuum

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    for Dirt Devil, that the company sells as
    so beautiful that you can put it on display,

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    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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    Conversely you can look at James Dyson and
    his vacuum cleaners. He approaches the design

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    of the vacuum in a very functionalist
    manner, but if you look at the form of it,

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    it's really expressing that, it's
    expressing the symbolism of function.

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    There's color introduced into it, and he's not a
    frivolous person, so it's really there to articulate

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    the various components of the vacuum. Or you
    could look at, in a more recent manifestation

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    of this kind of contextual approach,
    would be something like the Roomba.

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    There the relationship to the vacuum is very
    different. First of all there's no more human

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    interaction relationship, the
    relationship is to the room it's cleaning.

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    I think it's even more interesting that the company
    actually has kits available in the marketplace

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    through iCreate, and it's essentially the Roomba
    vaccum cleaner kit that's made for hacking.

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    People are really wacky, they've created
    things like Bionic Hamster, which is attaching

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    the play wheel or dome that the hamster
    uses as the driving device for the Roomba,

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    so it's the ultimate revenge of
    the animal on the vacuum cleaner.

    187
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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.

    189
    00:22:42,728 --> 00:22:47,688
    And designers have asked that
    question, and used different processes.

    190
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    Hey, what about the forks for the
    bike? Can you make a few inquiries?

    191
    00:27:27,846 --> 00:27:31,907
    Because I'd love to do the forks, I
    think the forks would be really cool.

    192
    00:27:36,254 --> 00:27:42,215
    Well this is my little table of... one of my
    tables... you know I've got a whole workshop downstairs

    193
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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

    195
    00:27:54,572 --> 00:27:59,942
    that I'm looking for an excuse to use,
    as opposed to the other way around.

    196
    00:28:00,612 --> 00:28:06,551
    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.

    198
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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.

    200
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    My career didn't start after art school,
    it started when I made my first object

    201
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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,

    205
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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.

    208
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    I grew up in a generation... you know I
    can remember when they landed on the moon.

    209
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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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    00:29:34,272 --> 00:29:40,074
    or things that irritate you. Anger,
    or dissatisfaction at the very least,

    212
    00:29:40,178 --> 00:29:45,047
    plays such an important role in
    motivating you, to do what we do.

    213
    00:29:45,617 --> 00:29:50,213
    But ultimately my job as a
    designer is to look into the future,

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    00:29:50,355 --> 00:29:55,224
    it's not to use any frame of reference that
    exists now. My job is about what's going to happen,

    215
    00:29:55,293 --> 00:29:57,557
    not what has happened.

    216
    00:30:05,970 --> 00:30:12,808
    As a designer, my philosophy
    is fundamentally non-disposable,

    217
    00:30:13,678 --> 00:30:18,911
    and somehow trying to offer
    products that you want to keep,

    218
    00:30:19,617 --> 00:30:24,884
    and products that you feel most
    importantly will stand the test of time.

    219
    00:30:25,490 --> 00:30:30,450
    That hopefully won't date
    as badly as other things.

    220
    00:30:30,962 --> 00:30:36,264
    Because it's all about wanting to have new
    things, isn't it? Ultimately, we could all still be

    221
    00:30:36,434 --> 00:30:40,268
    using the mobile phone
    we had three years ago.

    222
    00:30:40,405 --> 00:30:44,171
    But you know we've all had
    about five in the meantime.

    223
    00:31:18,243 --> 00:31:23,203
    Of course I fundamentally believe that something
    that's well-designed should not necessarily

    224
    00:31:23,314 --> 00:31:30,117
    cost more. Arguably it should cost less. But
    the problem is that design has become a way

    225
    00:31:30,255 --> 00:31:35,215
    for a lot of companies to "add value"
    because something is designed, and therefore

    226
    00:31:35,360 --> 00:31:37,794
    charge more money for it.

    227
    00:31:39,230 --> 00:31:42,927
    And it will become more and more
    pervasive, and things will be

    228
    00:31:43,034 --> 00:31:46,902
    marketed in terms of
    design, in the future.

    229
    00:32:11,162 --> 00:32:16,122
    The idea of elitism and the idea of design are
    merged. And it's out of this kind of culture

    230
    00:32:16,267 --> 00:32:21,295
    that the idea of democratization of design
    comes from. I always tell people that I grew up

    231
    00:32:22,073 --> 00:32:25,839
    with good design in my home,
    with all the Joe Columbo

    232
    00:32:25,944 --> 00:32:28,913
    and Achille Castiglioni pieces,
    not because we were rich, or

    233
    00:32:29,013 --> 00:32:33,677
    my parents were educated in design. Not at
    all, we were totally middle class and my parents

    234
    00:32:33,785 --> 00:32:37,778
    are doctors. It's just because that's
    what you would find at the corner.

    235
    00:32:37,889 --> 00:32:43,589
    There's design that costs more, and design that
    costs less. Some of it is good, some of it is bad.

    236
    00:32:44,162 --> 00:32:49,122
    "Democratization of design" is an empty
    slogan, it should really not even exist.

    237
    00:33:06,317 --> 00:33:13,223
    Target, in particular, fell right into line
    with, and influenced a lot of pop culture thinking

    238
    00:33:13,391 --> 00:33:19,023
    about the importance of design and the virtue
    of design. The basic idea was good design is

    239
    00:33:19,163 --> 00:33:23,099
    something you want, good design s
    something that distinguishes you,

    240
    00:33:23,234 --> 00:33:25,759
    t's sort of a mark of progress,

    241
    00:33:25,870 --> 00:33:32,241
    if you are a person who recognizes good design
    it distinguishes you from all the naïve and

    242
    00:33:33,011 --> 00:33:39,280
    corny bourgeois of the past, the past
    being everything up to that minute.

    243
    00:33:40,284 --> 00:33:45,813
    So you can now buy into that, you can buy
    into progress, good design, good taste.

    244
    00:33:47,191 --> 00:33:52,754
    And they had it available to
    you in a very attainable way.

    245
    00:33:55,233 --> 00:34:00,830
    Often the way that a product comes into being
    isn't because a bunch of expert designers

    246
    00:34:01,005 --> 00:34:05,101
    sat down and said, " What are the ten
    most important problems we can solve?"

    247
    00:34:05,376 --> 00:34:10,404
    There's a company that's writing a check.
    And what the company wants is new SKU's,

    248
    00:34:10,515 --> 00:34:15,919
    they want more stuff, and they want more people
    to buy it. And that's the name of the game.

    249
    00:34:24,328 --> 00:34:28,788
    We tend to want new things.

    250
    00:34:29,667 --> 00:34:35,435
    They can do something that has a different
    look, a fresher look, a newer look,

    251
    00:34:35,706 --> 00:34:40,143
    a new-now, next-now
    kind of look.

    252
    00:34:40,478 --> 00:34:45,006
    And the problem with spending a lot of time
    focusing on what's very now and very next

    253
    00:34:45,149 --> 00:34:50,212
    is that it isn't very forever. And that means it
    doesn't last, because there's someone else coming along

    254
    00:34:50,321 --> 00:34:54,724
    trying to design what's now and next
    after that. And part of their agenda,

    255
    00:34:54,959 --> 00:34:59,896
    whether it's over-articulated or not,
    is to make whatever used to be now,

    256
    00:34:59,997 --> 00:35:03,194
    look like then, so that
    people will buy the new now.

    257
    00:35:24,088 --> 00:35:28,787
    Cars are the biggest and most
    abundant set of sculptures that we have

    258
    00:35:28,893 --> 00:35:31,453
    in contact every day in our lives.

    259
    00:35:32,096 --> 00:35:37,500
    Although they're reproduced by machines,
    and computer milled stamps that make them,

    260
    00:35:37,702 --> 00:35:42,662
    actually every one of them was originally
    carved by hand, by men and women using techniques

    261
    00:35:42,807 --> 00:35:46,573
    not a whole lot different
    than Michelangelo.

    262
    00:35:46,844 --> 00:35:49,779
    Car designers are making
    extremely dynamic, sexy

    263
    00:35:49,881 --> 00:35:54,841
    objects, in theory. But in reality,
    they're bending metal, plastic,

    264
    00:35:55,520 --> 00:35:59,923
    glass. This isn't like a woman coming down
    a catwalk, where she's swishing the dress and

    265
    00:35:59,991 --> 00:36:05,122
    showing a little bit here and there, and getting your
    eyes to goggle. Unh-uh. This thing is frozen in time.

    266
    00:36:05,229 --> 00:36:11,532
    Which means we have to create it in a way
    so that you as the observer look at it,

    267
    00:36:12,570 --> 00:36:18,907
    and you put the motion into it, by the way you
    scan it. Because that car has to be a reflection

    268
    00:36:19,010 --> 00:36:23,344
    of that emotional energy
    that you want to see in it.

    269
    00:36:27,852 --> 00:36:33,518
    I believe very strongly in the emotional authenticity
    of the product, it should reflect what it is.

    270
    00:36:34,392 --> 00:36:38,522
    So if the car is a performance
    object it should have that feel.

    271
    00:36:39,197 --> 00:36:45,796
    It is quite bothersome to me when I see humanistic
    elements of a car being strangely handled.

    272
    00:36:47,104 --> 00:36:50,505
    For instance, cars have a face.

    273
    00:36:50,641 --> 00:36:57,103
    Well, you can have lots of faces. But when you
    put that one face on a car, it's there forever,

    274
    00:36:57,515 --> 00:37:03,886
    it's just one expression. And because
    cars have evolved to having two elements,

    275
    00:37:03,988 --> 00:37:09,324
    big taillights and a license plate, the
    backs of cars have also evolved a face,

    276
    00:37:09,427 --> 00:37:13,659
    also very interesting, and some of
    those are awfully... challenging.

    277
    00:37:16,968 --> 00:37:21,928
    How do we solve problems of lightness, how do
    we solve problems of efficiency? I think these

    278
    00:37:22,039 --> 00:37:26,999
    are things that are going to be difficult, but we
    can solve those. But the real challenges of car design

    279
    00:37:27,211 --> 00:37:31,545
    are going to be addressing the future generations'
    perceptions of what they want cars to be in their

    280
    00:37:31,616 --> 00:37:36,144
    lives? Do they want them to fade into the
    background, and just be there when they need one?

    281
    00:37:36,287 --> 00:37:40,348
    Or do they want them to stand up and be a
    representative of them, basically like we grew up

    282
    00:37:40,424 --> 00:37:45,953
    with it, they're kind of like avatars. I show
    myself to the outside world through this car.

    283
    00:37:51,369 --> 00:37:56,170
    When you own the car and you drive the car,
    even your decisions about are you going to put

    284
    00:37:56,307 --> 00:38:01,176
    a bumper sticker on it...
    there's an idea of an audience.

    285
    00:38:02,546 --> 00:38:07,006
    I feel pretty strongly, and this is true not just for
    cars but for almost everything we buy, that our real

    286
    00:38:07,118 --> 00:38:13,853
    audience is really ourselves. And that
    the person that you're really speaking to

    287
    00:38:14,091 --> 00:38:19,552
    when you're speaking about why me in this
    car, why is this the right car for me...

    288
    00:38:20,431 --> 00:38:25,528
    you're making a statement
    to yourself about yourself.

    289
    00:38:28,739 --> 00:38:34,109
    In sort of an abstract way, you're thinking
    about what they might be thinking of you,

    290
    00:38:34,278 --> 00:38:38,977
    and whether or not they like your Obama
    sticker, or your Save the Whales, or...

    291
    00:38:39,116 --> 00:38:43,678
    or your Christian fish, or whatever it
    might be. But the crucial thing is the self,

    292
    00:38:43,788 --> 00:38:49,158
    it's your own audience, your own story of I'm
    not that guy, or I am that guy, or that woman.

    293
    00:38:49,327 --> 00:38:53,320
    Because the truth is no
    one cares, on the highway.

    294
    00:42:39,123 --> 00:42:42,320
    Design is about mass production.

    295
    00:42:43,794 --> 00:42:48,754
    Design is using industry
    to produce serialized goods.

    296
    00:42:50,034 --> 00:42:55,370
    And I try everything I can in the mass market
    to change the goods, that people who know

    297
    00:42:55,472 --> 00:42:59,499
    nothing about design, or the people who say
    they don't care about design, or the people who

    298
    00:42:59,643 --> 00:43:03,909
    don't believe their world should
    have contemporary goods in it.

    299
    00:43:04,548 --> 00:43:09,781
    Those are the people I think design can
    have such an amazing affect on their lives.

    300
    00:43:15,092 --> 00:43:21,520
    When I was a teenager, I had this white... from
    Claritone, I think it was a Canadian company,

    301
    00:43:21,632 --> 00:43:26,865
    it was a white bubble stereo,
    with two bubbled white speakers.

    302
    00:43:27,271 --> 00:43:32,231
    And it was probably very inexpensive, it was
    a real democratic product. It was a turntable,

    303
    00:43:32,343 --> 00:43:38,043
    and the whole thing built in. And it
    was a beautiful thing... Looking back,

    304
    00:43:38,215 --> 00:43:43,016
    and thinking why it was a beautiful thing,
    was because it was very self-contained,

    305
    00:43:43,120 --> 00:43:47,853
    and the message was very strong and very
    simple, and at the same time it was very human.

    306
    00:43:47,958 --> 00:43:52,918
    There was a quality about it, it was like a
    womb, it was like an extension of us, somehow.

    307
    00:43:53,230 --> 00:43:58,566
    It was soft, it was engaging. And I used
    to have this alarm clock radio, a Braun,

    308
    00:43:58,769 --> 00:44:03,331
    that Dieter Rams
    designed in the late '60s.

    309
    00:44:03,674 --> 00:44:09,943
    And they were these objects in my life that I
    really was in love with, they brought so much to me.

    310
    00:44:10,280 --> 00:44:14,774
    And I can remember going through the teenage
    angst thing, of feeling depressed or something,

    311
    00:44:14,918 --> 00:44:19,355
    and lying on my bed, and I would just look at
    the alarm clock, and felt better immediately.

    312
    00:44:19,590 --> 00:44:24,550
    So I always had this really strong
    relationship with physical products.

    313
    00:44:28,966 --> 00:44:34,905
    There's something that moves through a lot of
    my forms, and that is to speak about a kind of

    314
    00:44:35,072 --> 00:44:40,567
    digital, technological, or techno-organic
    world. Somehow if I do things that are very,

    315
    00:44:40,744 --> 00:44:46,740
    very organic, but I'm using new technologies,
    I feel like I'm doing something in a way

    316
    00:44:46,884 --> 00:44:52,823
    that's a physical interpretation
    of the digital age.

    317
    00:44:55,659 --> 00:45:01,996
    We have advanced technologically so far, and yet
    somehow it's some sort or paranoia where we're

    318
    00:45:02,099 --> 00:45:08,834
    afraid to really say We live in the third
    technological revolution. I have an iPod in my pocket,

    319
    00:45:08,972 --> 00:45:13,739
    I have a mobile phone, I have a laptop, but
    then somehow I end up going home and sitting on

    320
    00:45:13,844 --> 00:45:19,612
    wood-spindled Wittengale chairs. So in a way
    you could argue that we're building all these

    321
    00:45:19,750 --> 00:45:27,179
    really kitsch stage sets, that have absolutely
    nothing to do with the age in which we live.

    322
    00:45:27,424 --> 00:45:33,158
    It's strange! I find it extremely perverse, in a
    way. I mean imagine right now, I'm sitting here on my

    323
    00:45:33,263 --> 00:45:38,826
    laptop, and I've got to go out. What am I going
    to do, get in my horse and carriage? Of course not!

    324
    00:45:39,937 --> 00:45:45,671
    Why do we feel like we need to keep
    revisiting the archetype over and over again?

    325
    00:45:46,143 --> 00:45:51,113
    Digital cameras, for example, their format and
    proportion, the fact that they're a horizontal

    326
    00:45:51,148 --> 00:45:59,056
    rectangle, are modeled after the original silver
    film camera. So in turn it's the film that defined

    327
    00:45:59,091 --> 00:46:03,254
    the shape of the camera. All of the
    sudden our digital cameras have no film.

    328
    00:46:03,327 --> 00:46:08,130
    So why on earth do we have the same shape we
    have. Now without sounding like a hypocrite,

    329
    00:46:08,165 --> 00:46:13,000
    I revisit archetypes, I've designed many chairs.
    With that given, you say, okay now I'm going to design

    330
    00:46:13,070 --> 00:46:18,075
    a chair. What can I do here? How can I put my
    fingerprint on it and differentiate it from everyone

    331
    00:46:18,110 --> 00:46:23,172
    else and every other designer? And am I
    playing a game to show I can differentiate?

    332
    00:46:23,247 --> 00:46:28,651
    or am I actually really doing something that is
    contributive? Because the big issue with design is,

    333
    00:46:28,719 --> 00:46:32,621
    are the things we are doing really
    making an affect and making change?

    334
    00:46:35,425 --> 00:46:41,386
    78% of the world is completely impractical.
    78% of the world is uncomfortable. You feel it.

    335
    00:46:41,465 --> 00:46:46,201
    You feel that hotel rooms are poorly designed,
    you sit in chairs that are very uncomfortable.

    336
    00:46:46,236 --> 00:46:50,007
    And it's craziness. Imagine that if you design a
    million chairs to date, or however many chairs have

    337
    00:46:50,042 --> 00:46:53,510
    been done in the world, why on earth
    should we have an uncomfortable chair?

    338
    00:46:53,545 --> 00:46:56,843
    There's no excuse whatsoever.

    339
    00:46:57,347 --> 00:47:02,786
    People need to demand that design performs
    for them and is special in their lives.

    340
    00:47:02,821 --> 00:47:04,913
    these objects that they buy.

    341
    00:47:05,022 --> 00:47:08,685
    If you can't make your
    GPS thing work in your car,

    342
    00:47:08,759 --> 00:47:12,286
    there should be a riot because
    they're so poorly designed.

    343
    00:47:12,396 --> 00:47:17,925
    Instead, the person sits there and thinks, "Oh, I'm
    not very smart, I can't make this GPS thing work. "

    344
    00:47:18,001 --> 00:47:21,903
    I can't make the things work! This is
    my field and I can't make them work!

    345
    00:47:22,439 --> 00:47:27,274
    If you design something that's precious and that
    you really love, you're never going to leave that.

    346
    00:47:27,344 --> 00:47:31,804
    My father's briefcase, made out of a beautiful piece
    of leather, gets better with use. And I've inherited it

    347
    00:47:31,882 --> 00:47:37,548
    and I'll pass it on, right? It's a really
    interesting thing, sometimes I get that task which is:

    348
    00:47:37,721 --> 00:47:44,061
    design something that gets better with use.
    There's very few things, they mostly degrade, but...

    349
    00:47:44,096 --> 00:47:48,430
    some things like this
    briefcase get better with use.

    350
    00:48:03,747 --> 00:48:08,116
    Now that's a pretty sweet
    tick-over, don't you think?

    351
    00:48:10,487 --> 00:48:15,447
    I like the concept of wearing
    in rather than wearing out.

    352
    00:48:15,559 --> 00:48:21,555
    You'd like to create something where the emotional
    relationship is more satisfying over time.

    353
    00:48:21,665 --> 00:48:28,833
    And you may not worry about it, or think
    about it... people don't have to have a strong

    354
    00:48:28,939 --> 00:48:35,708
    love relationship with their things, but they
    should grow a little more fond of them over time.

    355
    00:48:36,546 --> 00:48:41,745
    For example on the laptop that I designed,
    it's actually a magnesium enclosure

    356
    00:48:41,818 --> 00:48:47,450
    but it has paint on the outside. And
    when it gets dinged, if it's dropped and

    357
    00:48:47,524 --> 00:48:50,894
    a bit of paint chips off and you see
    some of the magnesium showing through,

    358
    00:48:50,929 --> 00:48:54,853
    somehow it feels better because of that.

    359
    00:48:56,433 --> 00:49:03,464
    The computer we call the Grid Compass, the
    Compass computer, arguably the first laptop

    360
    00:49:03,540 --> 00:49:09,342
    that was actually ever produced is this one.
    You could carry it with you, we designed it to be

    361
    00:49:09,413 --> 00:49:13,941
    thin enough to fit in half your briefcase,
    so you could put papers in as well.

    362
    00:49:14,017 --> 00:49:19,984
    Then there was a leg at the back that flipped
    down, to put it at the right angle, for using

    363
    00:49:20,991 --> 00:49:25,951
    the ergonomic preferred angle of 11 degrees.
    We wanted to devise a hinge that would allow it

    364
    00:49:26,029 --> 00:49:32,559
    to rotate so the display could come up, but also
    not let anything into the electronics behind.

    365
    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,

    366
    00:49:39,242 --> 00:49:44,202
    if you put a pencil on the back it would
    roll down and drop inside. I designed a scoop,

    367
    00:49:44,281 --> 00:49:48,945
    that would then self-eject
    the pencil when you closed it.

    368
    00:49:49,619 --> 00:49:53,555
    That was a little trick... of that.

    369
    00:49:56,326 --> 00:50:02,458
    When I got the first working prototype, I
    took the machine home, really thrilled about

    370
    00:50:02,632 --> 00:50:09,639
    wanting to use it myself. And it was with great
    pride that I opened up the display and thought

    371
    00:50:09,674 --> 00:50:14,269
    how clever I was to have designed this
    latch and this hinge and all this stuff.

    372
    00:50:14,344 --> 00:50:20,180
    And then, I started to actually try and use
    it. And within a few moments, I found myself

    373
    00:50:20,250 --> 00:50:26,780
    forgetting all about my physical design, and
    realizing that everything I was really interested in

    374
    00:50:26,857 --> 00:50:31,624
    was happening in my relationship between
    what was happening behind the screen.

    375
    00:50:31,728 --> 00:50:36,688
    I felt like I was kind of being sucked down
    inside the machine, and the interaction between me

    376
    00:50:36,800 --> 00:50:42,067
    and the device was all to do with the digital software
    and very little to do with the physical design.

    377
    00:50:44,074 --> 00:50:49,478
    That made me realize that if I was going to truly
    design the whole experience, I would really have

    378
    00:50:49,546 --> 00:50:56,748
    to learn how to design this software stuff.
    That made me search for a name for it,

    379
    00:50:57,821 --> 00:51:02,258
    which we ended up calling
    interaction design.

    380
    00:56:21,811 --> 00:56:27,716
    Arguably the biggest single challenge facing
    every area of design right now is sustainability.

    381
    00:56:28,752 --> 00:56:33,712
    It's no longer possible for designers to
    ignore the implications of continuing to produce

    382
    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.