I remember these Turkish carpets,

我記得這些土耳其地毯，

and there were these scenes, these battle scenes, these love scenes.

還有這些景象：打鬥的景象、恩愛的景象。

I mean, look, this animal is trying to fight back this spear

你看，這隻動物試圖對抗

from this soldier.

士兵刺下的矛。

And my mom took these pictures actually, last week,

我媽上星期拍這些照片，

of our carpets, and I remember this to this day.

這些地毯，到現在我都還記得。

There was another object, this sort of towering piece of furniture

還有另一個物品，這個高聳的家具，

with creatures and gargoyles and nudity --

有動物、怪獸和裸女 –

pretty scary stuff, when you're a little kid.

對小孩而言蠻可怕的。

What I remember today from this is that objects tell stories,

今天我記得的是，這些物品都會說故事，

so storytelling has been a really strong influence in my work.

因此說故事對我的工作有很強的影響。

And then there was another influence.

另外還有一個影響。

I was a teenager, and at 15 or 16, I guess like all teenagers,

我還是個青少年，15、16歲，像其他青少年一樣，

we want to just do what we love and what we believe in.

我們想做自己喜愛、自己信仰的事。

And so,

因此，

I fused together the two things I loved the most,

我融合了我最喜歡的兩件事：

which was skiing and windsurfing.

滑雪和風帆。

Those are pretty good escapes from the drab weather in Switzerland.

那是避開瑞士枯燥氣候的好方法。

So, I created this compilation of the two:

因此，我創作了這兩件事的組合：

I took my skis and I took a board and I put a mast foot in there,

我拿了我的雪橇及滑溜板，安上一個桅杆座，

and some foot straps, and some metal fins,

幾條綁腳帶及一些金屬鰭片，

and here I was, going really fast on frozen lakes.

就這樣，在結冰的湖面高速滑行。

It was really a death trap. I mean, it was incredible,

那真是個死亡陷阱。很難相信，

it worked incredibly well, but it was really dangerous.

它可以用，但卻非常危險。

And I realized then I had to go to design school.

因此，我知道我該去讀設計學校。

(Laughter)

(笑聲)

I mean, look at those graphics there.

我是說，看看那些圖像。

(Laughter)

(笑聲)

So, I went to design school,

因此我去讀了設計學校，

and it was the early '90s when I finished.

那是 ’90年代早期，當我畢業時，

And I saw something extraordinary happening in Silicon Valley,

我發現矽谷發生著奇特的事，

so I wanted to be there,

我想要去那裡，

and I saw that the computer was coming into our homes,

我發現電腦正在走入家庭。

that it had to change in order to be with us in our homes.

電腦要改變才能和我們在家裡相處。

And so I got myself a job and I was working for a consultancy,

我找到一份工作，在設計顧問公司上班，

and we would get in to these meetings,

我們會去參加會議，

and these managers would come in,

經理們進來，

and they would say,

他們會說：

"Well, what we're going to do here is really important, you know."

「我們要做的事真的很重要。」

And they would give the projects code names, you know,

他們將為專案取個代碼，

mostly from "Star Wars," actually: things like C3PO, Yoda, Luke.

大都取自星際大戰，如：C3PO、尤達、路克。

So, in anticipation, I would be this young designer

充滿期待，我這個年輕設計師

in the back of the room, and I would raise my hand,

坐在會議室後方，我會舉手

and I would ask questions.

問問題。

I mean, in retrospect, probably stupid questions,

回想當初，或許是些笨問題，

but things like, "What's this Caps Lock key for?"

像：「Cap Lock 鍵做什麼用？」

or "What's this Num Lock key for?" You know, that thing?

或「Num Lock 鍵做什麼用？」－ 就是這個。

"You know, do people really use it?

人們真的使用它嗎？

Do they need it? Do they want it in their homes?"

他們需要它嗎？在家裡要它嗎？

(Laughter)

(笑聲)

What I realized then is, they didn't really want to change

那時我覺得，他們不想改變

the legacy stuff; they didn't want to change the insides.

傳統的東西；他們不想改變內部。

They were really looking for us, the designers, to create the skins,

他們要設計師去創造表皮，

to put some pretty stuff outside of the box.

放些好看的東西在盒子外。

And I didn't want to be a colorist.

我不想當彩妝師。

It wasn't what I wanted to do.

那不是我想做的。

I didn't want to be a stylist in this way.

我不想做這樣的美容師。

And then I saw this quote:

接著我讀到這句名言：

"advertising is the price companies pay for being unoriginal."

「廣告是公司為沒有原創性而付出的代價。」

(Laughter)

(笑聲)

So, I had to start on my own. So I moved to San Francisco,

因此，我必須自己來。我搬到舊金山，

and I started a little company, fuseproject.

開了家小公司：Fuseproject。

And what I wanted to work on is important stuff.

我想做的是重要的事。

And I wanted to really not just work on the skins,

我不要只是做表皮，

but I wanted to work on the entire human experience.

我要做完整的人類體驗。

And so the first projects were sort of humble,

早期的專案都很卑微，

but they took technology and maybe made it into things

它們採用科技，放到產品裡，

that people would use in a new way,

讓人得以新方式去使用，

and maybe finding some new functionality.

或找到新功能性。

This is a watch we made for Mini Cooper, the car company,

這個錶是我們為 Mini Cooper 汽車公司

right when it launched,

開張時做的，

and it's the first watch that has a display

它的顯示是第一個可以

that switches from horizontal to vertical.

水平、垂直調換。

And that allows me to check my timer discretely, here,

它讓我能準確讀取時間，

without bending my elbow.

不必彎曲手臂。

And other projects, which were really about transformation,

其他的專案則是做轉換，

about matching the human need.

去滿足人類的需求。

This is a little piece of furniture for an Italian manufacturer,

這是為義大利公司做的小家具，

and it ships completely flat,

裝運時是平的，

and then it folds into a coffee table and a stool and whatnot.

然後可折成咖啡桌、凳子、或什麼的。

And something a little bit more experimental:

還有一些實驗性的：

this is a light fixture for Swarovski,

這是施華洛燈具，

and what it does is, it changes shape.

它會改變形狀：

So, it goes from a circle, to a round, to a square, to a figure eight.

圓形、環形、方形、8 字形，

And just by drawing on a little computer tablet,

在小型電腦數位板上畫一下，

the entire light fixture adjusts to what shape you want.

燈具就調整為你要的形狀。

And then finally, the leaf lamp for Herman Miller.

最後，Herman Miller 的葉子燈。

This is a pretty involved process;

這是個介入很深的過程，

it took us about four and a half years.

它花了我們大約四年半。

But I really was looking for creating a unique experience of light,

我一心追求創造獨特的照明體驗，

a new experience of light.

新的照明體驗。

So, we had to design both the light and the light bulb.

因此我們要同時設計燈和燈泡。

And that's a unique opportunity, I would say, in design.

我認為，這是很特別的設計機會。

And the new experience I was looking for

我追求的新體驗

is giving the choice for the user to go from

是讓使用者選擇從

a warm, sort of glowing kind of mood light,

一種溫暖的，有點微弱的心情燈光，

all the way to a bright work light.

一路到光亮的工作燈。

So, the light bulb actually does that.

燈泡真的可以那樣。

It allows the person to switch,

使用者可以調整、

and to mix these two colorations.

混合這兩種色調。

And it's done in a very simple way:

原理很簡單：

one just touches the base of the light,

只要碰觸燈座，

and on one side, you can mix the brightness,

一邊可以混合亮度，

and on the other, the coloration of the light.

另一邊則是光的色調。

So, all of these projects have a humanistic sense to them,

因此這些專案都有人道意義，

and I think as designers we need to really think

我認為身為設計師，我們該思考

about how we can create a different relationship

如何創造我們的作品

between our work and the world,

和世界的新關係，

whether it's for business,

不論是商業專案，

or, as I'm going to show, on some civic-type projects.

或如我將要提的公益專案。

Because I think everybody agrees that as designers we bring

因為大家都同意，身為設計師我們帶來價值：

value to business, value to the users also,

商業價值、使用者價值，

but I think it's the values that we put into these projects

但我認為，是我們放進專案的價值

that ultimately create the greater value.

最後創造出更大的價值。

And the values we bring

我們帶來的價值

can be about environmental issues,

可能是關於環境議題、

about sustainability, about lower power consumption.

永續性、低耗能。

You know, they can be about function and beauty;

它們可能是功能或美觀；

they can be about business strategy.

可能是商業策略。

But designers are really the glue

但設計師卻是黏膠

that brings these things together.

把這些組合在一起。

So Jawbone is a project that you're familiar with,

Jawbone 是你們知道的專案，

and it has a humanistic technology.

它使用人性化的科技。

It feels your skin. It rests on your skin,

它能感覺你的皮膚，

and it knows when it is you're talking.

它知道你何時說話。

And by knowing when it is you're talking,

因為知道你說話，

it gets rid of the other noises that it knows about,

它可以消除其他噪音，

which is the environmental noises.

也就是環境噪音。

But the other thing that is humanistic about Jawbone

Jawbone 的其他人性面是，

is that we really decided to take out all the techie stuff,

我們決定要除去太科技的東西、

and all the nerdy stuff out of it,

及難懂的東西，

and try to make it as beautiful as we can.

並使它盡可能美觀。

I mean, think about it:

就是說，你想：

the care we take in selecting sunglasses, or jewelry,

我們用心選擇太陽眼鏡、珠寶、

or accessories is really important,

或飾品等是很重要的，

so if it isn't beautiful, it really doesn't belong on your face.

如果它不好看，就不該掛在臉上。

And this is what we're pursuing here.

這就是我們追求的。

But how we work on Jawbone is really unique.

但我們如何創造 Jawbone，真的很特別。

I want to point at something here, on the left.

我要用左邊的畫面來說明。

This is the board, this is one of the things that goes inside

這是電路板，是放在內部

that makes this technology work.

使科技運作的東西。

But this is the design process:

設計過程是這樣的：

there's somebody changing the board,

有人改變電路板、

putting tracers on the board, changing the location of the ICs,

在電路板放描跡器、改變IC的位置，

as the designers on the other side are doing the work.

而設計師在另一邊工作。

So, it's not about slapping skins, anymore, on a technology.

所以它不再是為科技做表皮。

It's really about designing from the inside out.

而真的是由內而外的設計。

And then, on the other side of the room,

而房間的另一邊

the designers are making small adjustments,

設計師們忙著做修正、

sketching, drawing by hand, putting it in the computer.

畫草圖、徒手畫、電腦建檔等，

And it's what I call being design driven.

這就是我說的｢設計驅導｣。

You know, there is some push and pull,

你知道的，有些推力和拉力，

but design is really helping define

但設計真的由內往外

the whole experience from the inside out.

幫助定義整個體驗。

And then, of course, design is never done.

當然設計永遠做不完。

And this is -- the other new way that is unique

這也是我們工作的獨特之處，

in how we work is, because it's never done,

因為它永遠做不完，

you have to do all this other stuff.

你必得做其他的東西。

The packaging, and the website, and you need to continue

包裝、網站，你必需繼續

to really touch the user, in many ways.

以各種方式接觸使用者。

But how do you retain somebody, when it's never done?

但你如何留住人，如果它永遠做不完呢？

And Hosain Rahman, the CEO of Aliph Jawbone,

Hosain Rahman – Jawbone 執行長

you know, really understands that you need a different structure.

很清楚需要有不同的結構。

So, in a way, the different structure is that we're partners,

所謂不同結構是指我們是伙伴，

it's a partnership. We can continue to work

有伙伴關係。我們可以繼續工作，

and dedicate ourselves to this project,

致力於這個專案，

and then we also share in the rewards.

我們都分享成果。

And here's another project, another partnership-type approach.

這是另一個專案，另一個伙伴型的方法。

This is called Y Water,

這個叫Y水，

and it's this guy from Los Angeles, Thomas Arndt,

是由來自洛杉磯的傢伙，叫 Thomas Arndt，

Austrian originally, who came to us,

出生於澳洲，他來找我們，

and all he wanted to do was to create a healthy drink,

想要為小孩們創造健康飲水，

or an organic drink for his kids,

或叫有機飲水，

to replace the high-sugar-content sodas

以替代高糖含量的汽水，

that he's trying to get them away from.

他要小孩別喝汽水。

So, we worked on this bottle,

因此，我們創造了這個瓶子，

and it's completely symmetrical in every dimension.

它在各個面向都是對稱的。

And this allows the bottle to turn into a game.

這使瓶子可以變成遊戲。

The bottles connect together,

瓶子可互相結合，

and you can create different shapes, different forms.

可創造不同形狀、不同形態。

(Laughter)

(笑聲)

(Applause)

(掌聲)

Thank you.

謝謝。

(Applause)

(掌聲)

And then while we were doing this,

當我們正在做這個時，

the shape of the bottle upside down reminded us of a Y,

瓶子顛倒的形狀讓我們想到Y，

and then we thought, well these words, "why" and "why not,"

於是我們想到 why、why not

are probably the most important words that kids ask.

可能是孩子們最重要的疑問詞。

So we called it Y Water. And so this is

於是我們把它命名為「Y水」。這又是

another place where it all comes together in the same room:

另個出自同一房間的例子：

the three-dimensional design, the ideas, the branding,

立體設計、構想、品牌，

it all becomes deeply connected.

都有很深的結合。

And then the other thing about this project is,

這個專案的另一件事是，

we bring intellectual property,

我們帶來智財權，

we bring a marketing approach,

我們帶來行銷手法，

we bring all this stuff, but I think, at the end of the day,

我們帶來這些，到當天結束時，

what we bring is these values,

我們帶來這些價值，

and these values create a soul for the companies we work with.

這些價值替公司創造一個靈魂。

And it's especially rewarding when your design work

那個報償是特別高的，如果你的設計工作

becomes a creative endeavor,

是個有創意的付出，

when others can be creative and do more with it.

使其他人能有創意並做得更好。

Here's another project,

這是另一個專案，

which I think really emulates that.

它發揮了那個理念。

This is the One Laptop per Child, the $100 laptop.

這是｢每個學童有電腦｣，或叫 ｢百元電腦｣專案。

This picture is incredible.

這張照片令人驚奇。

In Nigeria, people carry their most precious belongings on their heads.

奈及利亞人把最貴重的東西帶在頭上。

This girl is going to school with a laptop on her head.

這個女孩頂著電腦去上學。

I mean, to me, it just means so much.

對我，那真是意義不凡。

But when Nicholas Negroponte --

當 Nicholas Negroponte –

and he has spoken about this project a lot,

他談過很多這個專案的事，

he's the founder of OLPC -- came to us

他是 OLPC 的創始人 – 來找我們

about two and a half years ago,

大約兩年半前，

there were some clear ideas.

他有很清晰的想法。

He wanted to bring education and he wanted to bring technology,

他要推動教育，他要推動科技，

and those are pillars of his life,

這是他生命的支柱，

but also pillars of the mission of One Laptop per Child.

也是「每個學童有電腦」使命的支柱。

But the third pillar that he talked about was design.

但他談的第三支柱是設計。

And at the time, I wasn't really working on computers.

那時我並不設計電腦。

I didn't really want to, from the previous adventure.

我不很想做，因為有之前的經歷。

But what he said was really significant,

但他說得很有意思，

is that design was going to be why the kids

設計可以使這些學童

were going to love this product,

喜歡這個電腦。

how we were going to make it low cost, robust.

如何使它便宜、強固，

And plus, he said he was going to get rid of the Caps Lock key --

此外他說，他要除去 Cap Lock 鍵 –

(Laughter) --

(笑聲)

and the Num Lock key, too.

– 還有 Num Lock 鍵。

So, I was convinced. We designed it to be iconic,

我被說服了。我們把它設計得佷獨特，

to look different. To look like it's for a kid, but not like a toy.

看起來不同，就像學童用的，但不像玩具。

And then the integration of