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PhilippeStarck深入思考设计       转

(2011-05-21 17:18:19)
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深入设计

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PhilippeStarck深入思考设计--金文设计关注 - 金文设计 Deking - 设计是金 Design is Gold
Philippe Starck  1949年出生于巴黎,于Ecole Centrale des Arts Decoratifs专业,在1968年成立了自己的设计公司,专做塑胶制充气成形的作品(inflatatble objects),1972年22岁时即任Pierre Cardin的艺术指导。往后几年设计了许多夜总会及餐厅。在1977-1978年游历世界回欧洲后其作品便领导时尚而迅速成品。充满幽默创意的设计风格,以简单趣味的方式丰富使用都的生活经验,将设计理念深植到生活当中的他,从早期的建筑、室内设计、产品设计、甚至跨足流行领域,都充分展现他与众不同的才华。Starck 从未局限自己的设计领域,甚至勇于挑战(少即多)的设计金科,斯塔克的设计作品通常是有机型、情感丰富而且使用相当独特的材质混合。其作品的广度亦无人出其右,小至牙刷、板凳,大至整个建物造景,都有他的作品,是个既多产又创新的设计巨星。
 
演讲题目:Thinks deep on Design
 
TED演讲中英文对照:
 
 You will understand nothing with my type of English. It's good for you, because you can have a break after all these fantastic people. I must tell you I am like that, not very comfortable, because usually, in life, I think my job is absolutely useless. I mean, I feel useless. Now after Carolyn, and all the other guys, I feel like shit. And definitively, I don't know why I am here, but -- you know the nightmare you can have, like you are an impostor, you arrive at the opera, and they push you, "You must sing!" I don't know.
你们将很难听懂我的英文。 也好,听过这些奇妙的人演讲,你们可以休息一下。 我必须承认,我觉得也不是很自在, 因为生活中,通常我觉得我的工作毫无用处。 就是说,我觉得很没有用。 现在,在 Carolyn 和其他人演讲之后,我觉得很「逊」。 说实在的,我搞不懂为什么我来了, 但是,你知道就像一场噩梦,像个冒名顶替者, 被推上歌剧舞台,「你就唱吧!」 我不知如何是好。
 
So, so, because I have nothing to show, nothing to say, we shall try to speak about something else. We can start, if you want, by understanding -- it's just to start, it's not interesting, but -- how I work. When somebody comes to me and ask for what I am known, I mean, yes, lemon squeezer, toilet brush, toothpick, beautiful toilet seats, and why not -- a toothbrush. I don't try to design the toothbrush. I don't try to say, "Oh, that will be a beautiful object," or something like that. That doesn't interest me.
所以,所以,因为我没有什么好秀,也没有什么好说, 我们就来谈谈其他事。 如果你愿意,我们可以来了解一下— 只是开头,不很有趣,就是—我如何工作。 当有人来找我,请我做我知名的设计, 像柠檬榨汁器、马桶刷、牙签、漂亮马桶垫, 何不也设计一把牙刷。 我并不试着去设计牙刷。 也不会试着说,「喔,那将是个美好的物品」,或这类的话。 那引不起我的兴趣。
Because there is different types of design. The one, we can call it the cynical design, that means the design invented by Raymond Loewy in the '50s, who said, what is ugly is a bad sale, la laideur se vend mal, which is terrible. It means the design must be just the weapon for marketing, for producer to make product more sexy, like that, they sell more, it's shit, it's obsolete, it's ridiculous. I call that the cynical design.
因为有不同类型的设计。 有一种我们可叫做「媚俗设计」, 由 Raymond Loewy 在 '50 年代创始的, 他说:丑物卖不好 (la laideur se vend mal),很可怕。 就是说,设计只是营销的武器, 让制造者把产品做得更性感, 可以卖更多,那是狗屎,过时了,荒谬极了。 我叫它「媚俗设计」。

After, there is the narcissistic design: it's a fantastic designer who designs only for other fantastic designers. After there is people like me, who try to deserve to exist, and who are so ashamed to make this useless job, who try to do it in another way, and they try, I try, to not make the object for the object but for the result, for the profit for the human being, the person who will use it. If we take the toothbrush -- I don't think about the toothbrush. I think, "What will be the effect of the brush in the mouth?" And to understand what will be the effect of the toothbrush in the mouth, I must imagine: Who owns this mouth? What is the life of the owner of this mouth? In what society this guy live? What civilization creates this society? What animal species creates this civilization? When I arrive -- and I take one minute, I am not so intelligent -- when I arrive at the level of animal species, that becomes real interesting.
后来,出现了「自恋设计」: 奇妙设计师设计给其他奇妙设计师。 后来有像我这样的人,想找到存在的价值, 并羞于做这种无用的工作,试着找另个方式, 他们试,我也试,设计物品不是为了物品,而是为了结果, 为了人类的利益,为了要用它的人。 如果我们设计牙刷—我并不去想牙刷。 我想,「牙刷在嘴里的作用将是什么?」 为了明白牙刷在嘴里的作用是什么, 我必须想象:谁拥有这张嘴? 嘴的主人的生活如何?这家伙生活的社会怎样? 怎样的文明创造了这个社会? 哪种动物创造了这个文明? 当我到达时—我花一分钟, 我不够聪明, 当我到达动物种类的层级时,那变得真是有趣。

Me, I have strictly no power to change anything. But when I come back, I can understand why I shall not do it, because today to not do it, it's more positive than do it, or how I shall do it. But to come back, where I am at the animal species, there is things to see. There is things to see, there is the big challenge. The big challenge in front of us. Because there is not a human production which exists outside of what I call "the big image." The big image is our story, our poetry, our romanticism. Our poetry is our mutation, our life. We must remember, and we can see that in any book of my son of 10 years old, that life appears four billion years ago, around -- four billion point two?
我根本毫无权力改变任何东西。 但当我回来时,我能理解为何我不该做它, 因为今天不去做它,比做它或如何做还正面。 但是回到刚才我在动物种类那里,有些事要看看。 有些事要看看,有一个大挑战。 我们面临的巨大挑战。 因为没有人道的生产 存在于我所谓的「大图像」之外。 「大图像」就是我们的故事,我们的诗,我们的浪漫。 我们的诗是我们的突变,我们的生命。 我们要记住,我十岁儿子的书本中就看得到, 生命出现在四十亿年前—大约…四十二亿?

Voice offstage: Four point five.
(台后:四十五亿)

Yes, point five, OK, OK, OK! I'm a designer, that's all, of Christmas gifts. And before, there was this soup, called "soupe primordiale," this first soup -- bloop bloop bloop -- sort of dirty mud, no life, nothing. So then -- pshoo-shoo -- lightning -- pshoo -- arrive -- pshoo-shoo -- makes life -- bloop bloop -- and that dies. Some million years after -- pshoo-shoo, bloop-bloop -- ah, wake up! At the end, finally, that succeeds, and life appears. We was so, so stupid. The most stupid bacteria. Even, I think, we copy our way to reproduce, you know what I mean, and something of -- oh no, forget it.
对,四十五亿,好,好,好!我是设计师, 耶诞礼品设计师。 太初,有一种汤,叫做「原汤」, 这个原汤—噗鲁、噗鲁、噗鲁, 类似烂泥,没有生命,毫无一物。 然后—噗咻、咻—闪电—噗咻—到达, 噗咻、咻—创造生命—噗鲁、噗鲁—归于沉寂。 几百万年后—噗咻、咻,噗鲁、噗鲁—啊,醒过来! 最后,终于成功了,生命出现了。 我们仍是非常、非常笨。最笨的细菌。 我认为,我们甚至抄袭自己的生殖方式,你知道我的意思, 还有其他的—喔,不,算了。

After, we become a fish; after, we become a frog; after, we become a monkey; after, we become what we are today: a super-monkey, and the fun is, the super-monkey we are today, is at half of the story. Can you imagine? From that stupid bacteria to us, with a microphone, with a computer, with an iPod -- four billion years. And we know, and especially Carolyn, that when the sun will implode, the earth will burn, explode, I don't know what, and this is scheduled for four, four billion years? Yes, she said, something like that. OK, that means we are at half of the story. Fantastic! It's a beauty! Can you imagine? It's very symbolic. Because the bacteria we was had no idea of what we are today. And today, we have no idea of what we shall be in four billion years. And this territory is fantastic.
后来,我们变成鱼;后来,变成青蛙; 后来,变成猴子;后来,变成今天的样子:超级猴子, 好玩的是,今天我们是超级猴子,只是故事的一半。 你能想象吗?从笨细菌到我们现在, 有麦克风、计算机、iPod—四十亿年。 而我们知道,尤其是 Carolyn,当太阳内爆, 地球会焚烧、爆炸,我也不知道, 而这将发生在四十亿年后? 对,她说大约如此。好,那代表我们在故事一半的位置。 奇妙呀!那真是美妙! 你能想象吗?那很有象征意义。 因为我们当初的细菌并不知道会有今天的我们。 而今天,我们也不知道四十亿年后会如何。 这个领域很奇妙。
 
That is our poetry. That is our beautiful story. It's our romanticism. Mu-ta-tion. We are mutants. And if we don't deeply understand, if we don't integrate that we are mutants, we completely miss the story. Because every generation thinks we are the final one. We have a way to look at Earth like that, you know, "I am the man. The final man. You know, we mutate during four billion years before, but now, because it's me, we stop. Fin. For the end, for the eternity, it is one with a red jacket." Something like that. I am not sure of that. Because that is our intelligence of mutation and things like that. There is so many things to do, it's so fresh.
这是我们的诗。这是我们美妙的故事。 它是我们的浪漫。突变。我们是突变种。 如果我们不深深理解,如果我们不整合身为突变种, 我们就完全错失了这个故事。 因为每个世代认为自己是最后一代。 我们以这种方式看地球: 「我是人类。终极人类。 之前我们突变了四十亿年,现在因为是我,我们停止、结束。 到了终点,到了永恒,就是身穿红色夹克。」 类似这样。我也不确定。 因为那是我们突变的智慧及类似的事。 有许多事要做,都很新鲜。

And here is something: nobody is obliged to be a genius, but everybody is obliged to participate. And to participate, for a mutant, there is a minimum of exercise, a minimum of sport. We can say that. The first, if you want -- there is so many -- but one which is very easy to do, is the duty of vision. I can explain you. I shall try. If you walk like that, it's OK, it's OK, you can walk, but perhaps, because you walk with the eyes like that, you will not see, oh, there is a hole. And you will fall, and you will die. Dangerous.
像这样的事:没有人注定是天才, 但每个人注定要参与。 突变种要参与,有一项至少的活动,至少的运动。 我们可以这样说。 首先,如果你愿意—太多了, 但有一项很简单的,就是视觉任务。 我可以解释,我来试试。 如果你这样走路,没问题,你可以走。 但是,如果你走路时眼睛像这样,你将看不到,喔,有个坑。 你就会跌倒,会死掉。很危险。

That's why, perhaps, you will try to have this angle of vision. OK, I can see, if I found something, up, up, and they continue, up up up. I raise the angle of vision, but it's still very -- selfish, selfish, egoiste -- yes, selfish. You, you survive. It's OK. If you raise the level of your eyes a little more you go, "I see you, oh my God you are here, how are you, I can help you, I can design for you a new toothbrush, new toilet brush," something like that. I live in society, I live in community. It's OK. You start to be in the territory of intelligence, we can say. From this level, the more you can raise this angle of view, the more you will be important for the society. The more you will rise, the more you will be important for the civilization. The more you will rise, to see far and high, like that, the more you will be important for the story of our mutation. That means intelligent people are in this angle. That is intelligence. From this to here, that, it's genius. Ptolemy, Eratosthenes, Einstein, things like that. Nobody's obliged to be a genius. It's better, but nobody.
也就是为什么,或许你将试着采取这个视角。 好。如果看到有东西,闪、闪,然后继续,闪、闪、闪。 我提高视角,但那仍很—自私、自我—是的,自私。 你可以生存,没问题。 如果你把视线水平提高些再走, 「我看到你,天哪你在这里,你好吗,我能帮你, 我可以为你设计一把新牙刷,新马桶刷」,像这样。 我住在社会,我住在小区。 没问题。我们可以说,你开始进入智慧的领域。 从这个水平,你的视角提得愈高, 你对社会就愈重要。 你提得愈高,你对文明就愈重要。 你提得愈高,看得高而远,像这样, 你对我们突变的故事就愈重要。 这意味着有智慧的人们在这个角度。这是智慧。 从这里到这里,这是天才。 托勒密、埃拉托斯特尼、爱因斯坦、等等。 没有人注定是天才。 那样比较好,但是没有人。

Take care, in this training, to be a good mutant. There is some danger, there is some trap. One trap: the vertical. Because at the vertical of us, if you look like that, "Ah! my God, there is God. Ah! God!" God is a trap. God is the answer when we don't know the answer. That means, when your brain is not enough big, when you don't understand, you go, "Ah, it's God, it's God." That's ridiculous. That's why -- jump, like that? No, don't jump. Come back. Because, after, there is another trap. If you look like that, you look to the past, or you look inside if you are very flexible, inside yourself. It's called schizophrenia, and you are dead also.
在这项训练中,要小心做个好的突变种. 有一些危险,有一些陷阱。一个陷阱:垂直的。 因为垂直于我们,如果你这样看, 「啊!天哪,那是神。啊!神!」 神是个陷阱。当我们不知答案时,神是答案。 就是说,当你的头脑不够大,当你不了解。 你会说,「啊!是神,是神」。那很荒谬。 就是为什么—跳,像这样?不,不要跳。 回来。因为后来,还有另一个陷阱。 如果你那样看,你看的是过去。 或你向内看,如果你很柔软,看自己的内部。 那叫「精神分裂症」,你也就死定了。

That's why every morning, now, because you are a good mutant, you will raise your angle of view. Out, more of the horizontal. You are an intelligence. Never forget -- like that, like that. It's very, very, very important. What, what else we can say about that. Why do that? It's because we -- if we look from far, we see our line of evolution. This line of evolution is clearly positive. From far, this line looks very smooth, like that. But if you take a lens, like that, this line is ack, ack, ack, ack, ack. Like that. It's made of light and shadow. We can say light is civilization, shadow is barbaria. And it's very important to know where we are. Because some cycle, there is a spot in the cycle, and you have not the same duty in the different parts of the cycle.
因此每天早上,因为你是个好的突变种, 你将提高你的视角。 向外,更向地平线。你是个智者。 不要忘了—像这样,像这样。 这非常、非常、非常重要。 还有什么我们能说的。为什么要那样做? 因为我们—如果我们从远处看,我们看到演化的路线。 这条演化的路线清楚地是正向的。 从远方看,这条线是平顺的,像这样。 但如果你用放大镜,像这样,这条线就曲、折、曲、折。像这样。 它是由光亮和阴影构成的。 我们可说:光亮是文明,阴影是野蛮。 重要的是要知道我们是在哪里。 因为某个循环,循环中有个点。 而在循环的不同部分,你的职责不同。

That means, we can imagine -- I don't say it was fantastic, but in the '80s, there was not too much war, like that, it was -- we can imagine that the civilization can become civilized. In this case, people like me are acceptable. We can say, "It's luxurious time." We have time to think, we have time to I don't know what, speak about art and things like that. It's OK. We are in the light. But sometimes,like today, we fall, we fall so fast, so fast to shadow, we fall so fast to barbaria. With many, many, many, many face of barbaria. Because it's not, the barbaria we have today, it's perhaps not the barbaria we think. There is different type of barbaria. That's why we must adapt. That means, when barbaria is back, forget the beautiful chairs, forget the beautiful hotel, forget design, even -- I'm sorry to say -- forget art. Forget all that. There is priority, there is urgence. You must go back to politics, you must go back to radicalization, I'm sorry if that's not very English. You must go back to fight, to battle.
就是说,我们可以想象—我可没说这很神奇, 但在 '80 年代,没有太多像那样的战争,因此— 我们能想象:文明可以变得有教养。 这样情形下,像我这样的人可被接受。 我们可说,「那是奢华时代」。 我们有时间去思考,我们有时间去… 谈谈艺术及诸如此类的事物。 那很好。我们在光亮处。 但有时,像今天,我们落下,快速落下,落入阴影中,快速落入野蛮。 呈现许许多多、许许多多的野蛮面貌。 因为那不是我们今天的野蛮,那或许不是我们想象的野蛮。 有不同种类的野蛮。 因此我们必须调适。 就是说,当回到野蛮时,忘掉漂亮椅子,忘掉漂亮旅馆, 忘掉设计,甚至也要忘掉艺术。 全都忘掉吧。有更优先的、更急迫的。 你必须回到政治,你必得回到激进, 对不起,这不很像英文。 你必得回去打斗、争战。

That's why today I'm so ashamed to make this job. That's why I am here, to try to do it the best possible. But I know that even I do it the best possible -- that's why I'm the best -- it's nothing. Because it's not the right time. That's why I say that. I say that, because, I repeat, nothing exist if it's not in the good reason, the reason of our beautiful dream, of this civilization. And because we must all work to finish this story. Because the scenario of this civilization -- about love, progress, and things like that -- it's OK, but there is so many other different, other scenarios of other civilizations. This scenario, of this civilization, was about becoming powerful, intelligent, like this idea we have invented, this concept of God. We are God now. We are. It's almost done. We have just to finish the story. That is very, very important. And when you don't understand really what's happened, you cannot go, and fight and work and build and things like that. You go to the future back, back, back, back, like that. And you can fall, and it's very dangerous. No, you must really understand that.
因为这样,如今我羞于做这件事。 因此我来这里,尽我所能做它。 但我心知,即使我尽我所能做它 —因此我是最好的—那也没什么。 因为时机不对。 因此我才这样说。东西不应存在,如果没有好的理由, —我们的美丽梦想,此一文明的理由。 因为我们全须去完成这个故事。 因为此一文明的剧情 关于爱情、进步、等等—这没问题, 但仍有许多其他不同的,其他文明的其他剧情。 这个文明的剧情是关于变得强盛、变得有智慧, 就如同这个想法,我们创造了神的概念。 现在我们是神。我们是。将要完成了。 我们就要完成故事。 这非常、非常重要。 当你不真正明白出了什么事, 你无法前进,去打斗、工作、建设、等等。 你走向的未来是:退、退、退、退,像这样。 你可能跌倒,那很危险。 不,你必须真正明白那个。

Because we have almost finished, I'll repeat this story. And the beauty of this, in perhaps 50 years, 60 years, we can finish completely this civilization, and offer to our children the possibility to invent a new story, a new poetry, a new romanticism. With billions of people who have been born, worked, lived and died before us, these people who have worked so much, we have now bring beautiful things, beautiful gifts, we know so many things. We can say to our children, OK, done, that was our story. That passed. Now you have a duty: invent a new story. Invent a new poetry. The only rule is, we have not to have any idea about the next story. We give you white pages. Invent. We give you the best tools, the best tools, and now, do it. That's why I continue to work, even if it's for toilet brush.
因为我们几乎要完成了,我将重复这个故事。 其美在于,或许再 50、60 年,我们能全部完成这个文明。 交给我们的孩子,让他们能够再创新的故事、 新的诗篇、新的浪漫。 我们之前,有几十亿人出生、工作、生活、死亡, 这些人工作勤奋, 现在我们有漂亮事物、漂亮礼品,我们懂那么多事。 我们可以告诉我们的小孩,好,完成了,这是我们的故事。过去了。 现在你有个职责:发明新的故事。发明新的诗。 唯一规则是,我们不必有关于下个故事的任何想法。 我们给你白纸。发明吧。 我们给你最好的工具,最好的工具,现在就用它。 因此我继续工作,就算只是设计马桶刷

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