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  • Charles and Ray were a team. They were husband and wife.

    譯者: Jeannie Cheng 審譯者: Shelley Krishna Tsang

  • Despite the New York Times' and Vanity Fair's best efforts recently,

    查爾斯和蕾是一夥的。他們是一對夫婦。

  • they're not brothers. (Laughter)

    儘管《紐約時報》和《名利場》最近盡了最大的努力,

  • And they were a lot of fun.

    他們還經常被誤認為兄弟。

  • You know, Ray was the one who wore the ampersands in the family.

    他們相當幽默。

  • (Laughter)

    你知道,蕾是那個在家庭照中畫上符號「&」的人。

  • We are going to focus on Charles today, because it is Charles' 100th birthday.

    (笑)

  • But when I speak of him, I'm really speaking of both of them as a team.

    今天我們會集中在查爾斯身上。因為今年是查爾斯一百歲的冥壽。

  • Here's Charles when he was three. So he would be 100 this June.

    但當我講述他時,其實我是以他們兩個人作為一個整體。

  • We have a lot of cool celebrations that we're going to do.

    這是查爾斯三歲的時候。在今年六月他快要一百歲了。

  • The thing about their work

    我們將會有很多很酷的紀念活動。

  • is that most people come to the door of furniture --

    與他們相關的工作

  • I suspect you probably recognize this chair

    大部份人都會想起傢俱 --

  • and some of the others I'm going to show you.

    我估計你們大概認出這張椅子

  • But we're going to first enter through the door of the Big Top.

    及一些我將為大家展示的物品。

  • The whole thing about this, though, is that, you know, why am I showing it?

    但我們將從「Big Top」的門口進發。

  • Is it because Charles and Ray made this film?

    關於它,說到底,你們會問,為什麼我要展示這個?

  • This is actually a training film for a clown college that they had.

    是因為這是查爾斯和蕾所製作的影片嗎?

  • They also practiced a clown act when the future of furniture

    這其實是一個為小丑學校而製作的培訓影片。

  • was not nearly as auspicious as it turned out to be.

    當傢俱的將來沒有比現在般興盛,

  • There is a picture of Charles. So let's watch the next clip.

    他們也曾練習小丑的動作。

  • The film that we're about to see is a film they made for the Moscow World's Fair.

    這是查爾斯的照片。我們看看下一段影片。

  • Video: This is the land.

    我們接著看的影片是為莫斯科世界博覽會而製作。

  • It has many contrasts.

    (影片) 這是一片地。

  • It is rough and it is flat.

    它有很多的對比。

  • In places it is cold.

    有崎嶇的,也有平坦的。

  • In some it is hot.

    有地方是寒冷的。

  • Too much rain falls on some areas,

    有些是炎熱的。

  • and not enough on others.

    有些地方下很多雨水。

  • But people live on this land.

    有些地方就不夠。

  • And, as in Russia,

    但人們生活在這片地。

  • they are drawn together into towns and cities.

    如同在俄羅斯,

  • Here is something of the way they live.

    他們聚集在小市鎮和城市中。

  • Eames Demetrios: Now, this is a film that was hardly ever seen in the United States.

    這是一些他們的生活方式。

  • It was on seven screens and it was 200 feet across.

    伊默斯·德米特里:現在,這一段影片差不多從未在美國看過。

  • And it was at the height of the Cold War.

    它是七個畫面組合成,有200呎闊。

  • The Nixon-Khrushchev Kitchen Debate

    那時正值冷戰高峰期。

  • happened about 50 feet from where this was shown.

    尼克森和赫魯雪夫的『廚房辯論』

  • And yet, how did it start?

    在這段影片約50呎以外的地方展開。

  • You know, commonality, the first line

    但它是如何開始呢?

  • in Charles' narration was,

    你知道,大同,

  • "The same stars that shine down on Russia

    查爾斯在影片中的第一句的旁白

  • shine down on the United States. From the sky,

    「照耀著蘇聯的星星同樣地

  • our cities look much the same."

    照耀著美國。從天空中,

  • It was that human connection that Charles and Ray always found in everything.

    我們的城市看起來是相同的。」

  • And you can imagine, and the thing about it is,

    查爾斯和蕾總在事物中尋找人性的相通性。

  • that they believed that the human mind could handle this number of images

    你可以想像,他們倆當時,

  • because the important thing was to get the gestalt

    相信人類的思想能夠應付多幅影像,

  • of what the images were about.

    因為最重要的是在看這些圖像的時候,

  • So that was just a little snip.

    他們可以找尋某一刻的頓悟。

  • But the thing about Charles and Ray

    這只是一小節。

  • is that they were always modeling stuff.

    再說查爾斯和蕾,

  • They were always trying things out.

    他們經常製作模型。

  • I think one of the things I am passionate about, my grandparents work,

    他們經常嘗試新事物。

  • I'm passionate about my work,

    我想其中一樣我熱愛的事就是:我祖父母的作品。

  • but on top of all that I'm passionate

    我熱愛我的工作。

  • about a holistic vision of design,

    但在我最為熱愛的東西

  • where design is a life skill, not a professional skill.

    是設計時的整體視覺,

  • And you know, those of us with kids often want our kids to take music.

    把設計當成生活技能,而不是專業技術。

  • I'm no exception.

    你知道 我們那些有孩子的人常常希望孩子學點音樂。

  • But it's not about them becoming Bono or Tracy Chapman.

    我也不例外。

  • It's about getting that music thing going through their heads and their thinking.

    但並不是要孩子成為博諾(U2樂隊主唱) 或 崔西查普曼。

  • Design is the same way. Design has to become that same way.

    而是讓孩子的頭腦和思考中有音樂的概念。

  • And this is a model that they did of that seven-screen presentation.

    設計也是一樣。設計也應如此。

  • And Charles just checking it out there.

    這就是他們為那次七個屏幕的展示所製作的模型。

  • So now we're going to go through that door of furniture.

    而查爾斯正在調試著。

  • This is an unusual installation of airport seating.

    現在我們來談談傢俱。

  • So what we're going to see is some of the icons of Eames furniture.

    這是一個不尋常的機場座位裝置。

  • And the thing about their furniture is that they said the role of the designer

    現在我們會看看一些伊默斯傢俱中的經典作品。

  • was essentially that of a good host,

    提起傢俱,他們說設計師的角色

  • anticipating the needs of the guest.

    最重要是成為一個很好的東道主,

  • So those are cool images. But these are ones I think are really cool.

    去預計客戶的需要。

  • These are all the prototypes. These are the mistakes,

    那些是很酷的圖像。但我認為這些更酷。

  • although I don't think mistakes is the right word in design.

    這是全都是原型。這些是錯誤。

  • It's just the things you try out

    雖然我不認為錯誤是設計中一個合適的字。

  • to kind of make it work better.

    這只是你嘗試,

  • And you know some of them would probably be terrible chairs.

    為的是越做越好。

  • Some of them are kind of cool looking. It's like "Hey, why didn't they try that?"

    你知道有一些可能是很糟糕的椅子。

  • It was that hands-on iterative process

    有一些有很酷的樣子。好像是:「嗨,為何他們不試試那些?」

  • which is so much like vernacular design

    這是一個反覆嘗試親自動手的過程

  • and folk design in traditional cultures.

    就好像本土的設計

  • And I think that's one of the commonalities between modernism

    和在傳統文化的原始設計。

  • and traditional design. I think it may be a real common ground

    而我想這是現代設計和傳統設計的共通點之一。

  • as we kind of figure out what on earth to do in the next 20 or 30 years.

    我想在未來二十至三十年內,

  • The other thing that's kind of cool is that

    在我們想出如何自處的事情上,它們有著共同基礎。

  • you look at this and in the media when people say design,

    第二樣很酷的東西就是

  • they actually mean style.

    當你看著這些,而在媒體上當人們談及設計,

  • And I'm really here to talk about design.

    他們其實指的是風格。

  • But you know the object is just a pivot.

    而我在這裡確實是講述"設計"。

  • It's a pivot between a process and a system.

    但你知道這物件只是關鍵。

  • And this is a little film I made

    是過程與系統之間的關鍵。

  • about the making of the Eames lounge chair.

    這是我所製作的短片,

  • The design process for Charles and Ray

    內容是關於 伊默斯躺椅的製作。

  • never ended in manufacturing.

    查爾斯與蕾的設計過程

  • It continued. They were always trying to make thing better and better.

    不止於生產。

  • Because it's like as Bill Clinton was saying about Rwandan health clinics.

    它一直延續著。他們永遠嘗試讓物件越來越好。

  • It's not enough to create one.

    因為這正如比爾·克林頓在有關盧旺達裡的健康診所的演說一樣。

  • You've got to create a system that will work better and better.

    去創造一所(健康診所)是不夠的。

  • So I've always liked this prototype picture.

    你得創造一個會變得越來越好的系統。

  • Because it just kind of, you know, doesn't get any more basic than that.

    因此我喜歡這個原型的照片。

  • You try things out.

    因為它有一種你永遠找不到比這個更基本的感覺。

  • This is a relatively famous chair.

    你嘗試新創造。

  • Its early version had an "X" base. That's what the collectors like.

    這是相對較有名的椅子。

  • Charles and Ray liked this one because it was better.

    它最初的版本有著一個交叉的底部。這是收藏家所喜愛的。

  • It worked better: "H" base, much more practical.

    查爾斯與蕾喜歡這個是因為這個比較好。

  • This is something called a splint.

    它操作更好。「H」的底部,更加實用。

  • And I was very touched by Dean Kamen's

    這個東西名叫藤條。

  • work for the military, or for the soldiers,

    我被迪安·基曼

  • because Charles and Ray designed a molded plywood splint. This is it.

    為軍隊或士兵所做的工作而感動。

  • And they'd been working on furniture before.

    因為查爾斯和蕾設計了一個膠合板藤條模型。就是這個。

  • But doing these splints they learned a lot about the manufacturing process,

    他們從前也製作過傢俱。

  • which was incredibly important to them.

    但他們從製造這些藤條的過程中學會很多有關製造的過程,

  • I'm trying to show you too much,

    這些對他們無比重要。

  • because I want you to really get a broth of ideas and images.

    我嘗試展示很多給你們看。

  • This is a house that Charles and Ray designed.

    因為我想你們真的能體會靈感和圖象的精髓。

  • My sister is chasing someone else. It's not me.

    這間房屋是由查爾斯和蕾所設計。

  • Although I endorse heartily the fact that he stole her diary, it's not me.

    我的姐妹正在追逐某人。那個人不是我。

  • And then this is a film, on the lower left, that Charles and Ray made.

    雖然我衷心贊同他偷了她的日記這個事實,但那個人不是我。

  • Now look at that plastic chair.

    左下角是查爾斯和蕾製作的短片。

  • The house is 1949.

    現在看看那個塑膠椅子。

  • The chair is done in 1949.

    那間房子是一九四九的。

  • Charles and Ray,

    那個椅子也是於一九四九年完成。

  • they didn't obsess about style for it's own sake.

    查爾斯和蕾,

  • They didn't say, "Our style is curves. Let's make the house curvy."

    他們沒有為風格而風格。

  • They didn't say, "Our style is grids. Let's make the chair griddy."

    他們沒有說: 「我們的風格是波浪的。那麼我們把房子也設計成波浪吧。」

  • They focused on the need.

    他們沒有說: 「我們的風格是格形的。那麼我們把椅子也設計成格子形狀。」

  • They tried to solve the design problem.

    他們集中在需求方面。

  • Charles used to say, "The extent to which you have a design style

    他們嘗試著解決設計的問題。

  • is the extent to which you have not solved the design problem."

    查爾斯曾經說: 「你越有設計風格

  • It's kind of a brutal quote.

    越說明你沒有解決設計上的問題。」

  • This is the earlier design of that house.

    這是一個很大胆的引述。

  • And again, they managed to figure out a way to make a prototype

    這是那間房子較初期的設計。

  • of a house -- architecture, very expensive medium.

    而再一次他們能夠找一個方法去製造一個樣板屋

  • Here's a film we've been hearing things about.

    建築是一個非常昂貴的媒體。

  • The "Powers of Ten" is a film they made.

    這套短片就是你們所聽到的

  • If we watch the next clip,

    "Powers of 10" 就是他們所製作的位片段

  • you're going to see the first version of "Powers of Ten," upper left.

    如果我們看看下一段影片

  • The familiar one on the lower right.

    你們會看見"Powers of 10"的第一個版本出現在左上方

  • The Eames' film Tops, lower left.

    最熟悉的在右下方。

  • And a lamp that Charles designed for a church.

    伊默斯的影片Tops,在左下方。

  • Video: Which in turn belongs to a local group of galaxies.

    而那是查爾斯為教堂所設計的燈

  • These form part of a grouping system

    (影片):輪到那一個屬於本土星宿

  • much as the stars do.

    它們形成一個團隊系統

  • They are so many and so varied that from this distance

    就好像星星一樣。

  • they appear like the stars from Earth.

    它們從這個距離是如此的多及不同

  • ED: You've seen that film, and what's so great about this

    它們好像在地球看到星星一樣。

  • whole conference is that everybody has been talking about scale.

    (ED):你看過這套影片 它是何等偉大呢

  • Everybody here is coming at it from a different way.

    整個會議所有人都正在談及尺度。

  • I want to give you one example.

    每個人展現尺度的方式都不同。

  • E.O. Wilson once told me that when he looked at ants --

    我想給你們一個例子。

  • he loved them, of course, and he wanted to learn more about them --

    E. O. 威爾遜有一次向我說當他觀看螞蟻時 --

  • he consciously looked at them from the standpoint of scale.

    他喜歡牠們, 當然, 他很想知道牠們多一些 --

  • So here is the tiny creature.

    他又意識地從尺度方面去看螞蟻。

  • And yet simply by changing the frame of reference

    這是一個細小的生物。

  • it reveals so much, including what ended up being the TED Prize.

    而只要稍微改變一下角度

  • Modeling, they tried modeling all the time. They were always modeling things.

    就能反映很多,包括最終得到 TED 大獎。

  • And I think part of that is that they never delegated understanding.

    模型,他們經常做模模型。他們經常把事物做成模型。

  • And I think in our family we were very lucky,

    我想部份原因是他們從沒支配觀念。

  • because we learned about design backwards.

    我感覺我的家庭很幸運。

  • Design was not something other.

    因為我們是倒過來學設計的。

  • It was part of the business of life in general.

    設計不是別的。

  • It was part of the quality of life.

    它是日常生活的一部份。

  • And here is some family pictures.

    它是生活質素的一部份。