Objectified

en
00:05:35 We work as consultants, which means we work with
00:05:40 But really our common interest is in understanding
00:05:43 what their needs are. So if you
00:05:48 do as consultants is focus on
00:05:52 about what's needed design-wise in the kitchen, or
00:06:00 We have clients come to us and say, here's our
00:06:05 she's 34 years old, she has 2.3 kids. And we listen
00:06:10 we don't care about that person. What we really
00:06:16 is look at the extremes, the weakest, or the person
00:06:21 or the strongest or the fastest person. Because if
00:06:27 the middle will take care of itself.
00:06:33 These are actually things I haven't seen in
00:06:38 We tried to use less material, like here's one that's
00:06:44 A good friend of mine, Sam Farber, he was
00:06:49 I got a phone call one night, he was so excited he
00:06:54 And what he was excited about was he'd been
00:06:59 an apple tart. And she was complaining about the
00:07:04 She had arthritis, and she just couldn't hang on to it.
00:07:11 that here's a product that nobody's really
00:07:15 And our thought was, well if we can make it work for
00:07:21 We knew that it had to be a bigger handle. Kids
00:07:27 to hold onto. It's the same thing for somebody that
00:07:32 they need something a little bit larger, that's a little
00:07:36 So we did a lot of studies around the shape of the
00:07:41 that would be perfect for everybody.
00:07:44 But eventually we found a rubberized bicycle grip,
00:07:52 So, it really goes through many, many, more
00:07:57 to do a handle that's relatively simple in the end.
00:08:04 I think one thing with a hand pruner is that you have
00:08:09 when you're closing it.
00:08:11 But I feel like here's the spot that really hurts, this is
00:08:16 So it's like here in this area, on all four fingers,
00:08:22 So when we start out doing a project, looking at
00:08:28 how we can design a better
00:08:33 So what we did here was to map it out, when we did
00:08:38 the pressure points are, then we go into this
00:08:45 One thing we realized with this model, if you
00:08:50 just have a straight handle, you don't have any
00:08:57 far down, you have to squeeze harder to hold the
00:09:01 out of your hands. So by sculpting this handle area,
00:09:09 so you have to squeeze less, so you have a really
00:09:18 We're really at the final stages of our design here,
00:09:23 control them much more closely to get them ready
00:09:28 or Computer Aided Design.
00:09:30 It's very important that we
00:09:35 with physical models.
00:09:39 Once you get into that, we use a set of technologies
00:09:43 so we can really finely control the ergonomics of
00:09:50 So there are the two halves that come out of the
00:09:55 an entire handle, and attach them to prototypes
00:10:02 comfort and work with it, and make sure our CAD
00:10:11 The way we think of design is, let's put great design
00:10:16 and understand how to make these gadgets
00:10:20 And that's what we're always looking for whenever
00:10:25 the way people do things, or improve their daily life,
00:10:29 without them even knowing it or thinking about it.
00:10:50 Japanese gardeners, the bonsai must be cut in
00:10:57 that a small bird can fly through it. It's nice, isn't it?
00:11:05 But all the other trees, you also have to cut them.
00:11:10 It's much more so, in Japan. They have to cut them,
00:11:16 we would say... to design them. But why are we
00:11:21 We are doing a lot, to design our world now, we
00:13:57 I remember the first time I saw an Apple product.
00:14:02 it was the first time I realized, when I saw this
00:14:08 I got a very clear sense of the people who designed
00:14:16 A big definition of who you are as a designer
00:14:25 And I guess it's one of the curses of what you do,
00:14:30 why is it like that? Why is it like that and not
00:14:38 And so in that sense, you're constantly designing.
00:14:49 When we're designing a product, we have to look to
00:14:54 and some of those attributes will be the materials
00:14:59 that's connected to those materials. So for example
00:15:05 the primary component of that was the cathode ray
00:15:10 entirely different approach to designing something
00:15:15 flat-panel display.
00:15:17 Other issues would be, just physically how do you
00:15:22 with something like the iPhone, everything defers to
00:15:29 A lot of what we seem to be doing in a product like
00:15:36 And I think when forms develop with that sort of
00:15:42 it feels almost inevitable, it feels almost
00:15:47 well of course it's that way, why wouldn't it be any
00:15:58 This is the bezel for the iMac. When we remove the
00:16:04 we actually take that material and then we can
00:16:13 These are literally just a couple of the stages of how
00:16:19 Rough cutting... this is for the keyboard well. And
00:16:26 to how much a single part can do, and one of things
00:16:33 figure out, can we do the job of those six parts with
00:16:39 This part actually starts off as this extrusion, this is
00:16:48 multiple operations, most of them CNC machined
00:16:59 to end up with this part. And you can see, just a
00:17:05 between this raw blank and the final part.
00:17:11 is a part that's got all of the mounting features, all of
00:17:19 but this one part is providing so much functionality.
00:17:25 And this one part really does enable this product.
00:17:29 So much of the effort behind a product like the
00:17:36 with different processes. There's a... it's completely
00:17:41 but the way that you hold... to get from this part, to
00:17:47 there's an incredibly complex series of fixtures to
00:17:56 And we end up spending a lot of time designing
00:18:01 The design of this, in many ways wasn't the design
00:18:05 it was figuring out process.
00:18:09 It's really important in a product to have a sense of
00:18:13 and what's not important, by removing those things
00:18:18 An indicator has a value when it's indicating
00:18:22 But if it's not indicating something, it shouldn't be
00:18:27 It's one of those funny things, you spend so much
00:18:34 And if you think about it so many of the products
00:18:39 aware of just how clever the solution was.
00:18:44 When the indicator comes on, I wouldn't expect
00:18:49 but at some level I think you're aware of a calm and
00:18:57 that therefore speaks about how you're going to use
00:19:04 that we as designers and engineers had in trying to
00:19:11 That's quite obsessive, isn't it?
00:19:19 We now have a new generation of products where
00:19:24 to the function. I mean, look at something like an
00:19:29 In "ye olden days" of what are called analog
00:19:34 they're not electronic, something like a chair or a
00:19:40 So if say you imagine being a Martian and you just
00:19:45 a spoon or a chair before. You can guess roughly
00:19:50 sit on them or feed yourself with them... by the
00:19:55 Now all that has been annihilated by the microchip.
00:20:02 the tangible and the material, to an increasingly
00:20:08 and that poses an enormous number of tensions
00:20:17 I think there are really three phases of modern
00:20:21 One of those phases, or approaches if you like, is
00:20:27 the formal logic of the object. The act of form-giving,
00:20:34 The second way to look at it is in terms of the
00:20:39 dealing with. The little rituals that make up...
00:20:46 or the cultural symbolism of a particular object.
00:20:53 help give guidance to the designer about how that
00:20:58 The third phase is looking at design in a contextual
00:21:04 It's looking at the technological context for that
00:21:12 For the first phase you might have something fairly
00:21:16 for Dirt Devil, that the company sells as so beautiful
00:21:23 in other words you can leave it on your counter and
00:21:27 Conversely you can look at James Dyson and his
00:21:32 of the vacuum in a very functionalist manner, but if
00:21:37 it's really expressing that, it's expressing the
00:21:42 There's color introduced into it, and he's not a
00:21:46 the various components of the vacuum. Or you
00:21:51 of this kind of contextual approach, would be
00:21:56 There the relationship to the vacuum is very
00:22:00 interaction relationship, the relationship is to the
00:22:05 I think it's even more interesting that the company
00:22:09 through iCreate, and it's essentially the Roomba
00:22:14 People are really wacky, they've created things like
00:22:20 the play wheel or dome that the hamster uses as
00:22:26 so it's the ultimate revenge of the animal on the
00:22:32 How I think about it as a designer myself is that
00:22:39 what form should this object take.
00:22:42 And designers have asked that question, and used
00:27:14 Hey, what about the forks for the bike?
00:27:27 Because l'd love to do the forks, I think
00:27:36 Well this is my little table of... one of my tables...
00:27:42 which is just full of shit. But these are just things
00:27:48 and things I want to have around and look at.
00:27:54 that l'm looking for an excuse to use, as opposed to
00:28:00 But things like Micarta, this is one of my favorite
00:28:06 so it's a bit like wood, actually, it feels like a living
00:28:15 And these kind of weird meshes, how cool is that. I
00:28:20 it's like this stainless steel... braided... stuff.
00:28:29 My career didn't start after art school, it started
00:28:34 in my grandfather's garage. I remember my uncle
00:28:40 he'd give me a wristwatch. So I figured out how to
00:28:45 and I promptly pulled it to bits. I went out to my
00:28:50 Plexiglas and started hacking away at this bit of
00:28:55 and I transplanted this movement from this
00:29:01 That was my first....
00:29:05 ...design, I guess.
00:29:11 I grew up in a generation... you know I can
00:29:16 I can't deny that that was a massive event in my
00:29:26 What I want to do is to be able to have things that
00:29:34 or things that irritate you. Anger, or dissatisfaction
00:29:40 plays such an important role in motivating you,
00:29:45 But ultimately my job as a designer is to look into
00:29:50 it's not to use any frame of reference that exists
00:29:55 not what has happened.
00:30:05 As a designer, my philosophy is fundamentally
00:30:13 and somehow trying to offer products that you want
00:30:19 and products that you feel most importantly will
00:30:25 That hopefully won't date as badly as other things.
00:30:30 Because it's all about wanting to have new things,
00:30:36 using the mobile phone we had three years ago.
00:30:40 But you know we've all had about five
00:31:18 Of course I fundamentally believe that something
00:31:23 cost more. Arguably it should cost less. But the
00:31:30 for a lot of companies to "add value" because
00:31:35 charge more money for it.
00:31:39 And it will become more and more pervasive, and
00:31:43 marketed in terms of design, in the future.
00:32:11 The idea of elitism and the idea of design are
00:32:16 that the idea of democratization of design comes
00:32:22 with good design in my home,
00:32:25 and Achille Castiglioni pieces,
00:32:29 my parents were educated in design. Not at all, we
00:32:33 are doctors. It's just because that's what you would
00:32:37 There's design that costs more, and design that
00:32:44 "Democratization of design" is an empty slogan,
00:33:06 Target, in particular, fell right into line with, and
00:33:13 about the importance of design and the virtue of
00:33:19 something you want, good design
00:33:23 it's sort of a mark of progress,
00:33:25 if you are a person who recognizes good design it
00:33:33 corny bourgeois of the past, the past being
00:33:40 So you can now buy into that, you can buy into
00:33:47 And they had it available to you in a very attainable
00:33:55 Often the way that a product comes into being isn't
00:34:01 sat down and said, "What are the ten most
00:34:05 There's a company that's writing a check. And what
00:34:10 they want more stuff, and they want more people to
00:34:24 We tend to want new things.
00:34:29 They can do something that has a different look, a
00:34:35 a new-now, next-now kind of look.
00:34:40 And the problem with spending a lot of time
00:34:45 is that it isn't very forever. And that means it doesn't
00:34:50 trying to design what's now and next after that.
00:34:54 whether it's over-articulated or not, is to make
00:34:59 Iook like then, so that people will buy the new now.
00:35:24 Cars are the biggest and most abundant set of
00:35:28 in contact every day in our lives.
00:35:32 Although they're reproduced by machines, and
00:35:37 actually every one of them was originally carved by
00:35:42 not a whole lot different than Michelangelo.
00:35:46 Car designers are making
00:35:49 objects, in theory. But in reality,
00:35:55 glass. This isn't like a woman coming down a
00:35:59 showing a little bit here and there, and getting your
00:36:05 Which means we have to create it in a way so that
00:36:12 and you put the motion into it, by the way you scan
00:36:19 of that emotional energy that you want to see in it.
00:36:27 I believe very strongly in the emotional authenticity
00:36:34 So if the car is a performance object it should have
00:36:39 It is quite bothersome to me when I see humanistic
00:36:47 For instance, cars have a face.
00:36:50 Well, you can have lots of faces. But when you put
00:36:57 it's just one expression. And because cars have
00:37:03 big taillights and a license plate, the backs of cars
00:37:09 also very interesting, and some of those are
00:37:16 How do we solve problems of lightness, how do we
00:37:22 are things that are going to be difficult, but we can
00:37:27 are going to be addressing the future generations'
00:37:31 Iives? Do they want them to fade into the
00:37:36 Or do they want them to stand up and be a
00:37:40 with it, they're kind of like avatars. I show myself to
00:37:51 When you own the car and you drive the car, even
00:37:56 a bumper sticker on it... there's an idea of an
00:38:02 I feel pretty strongly, and this is true not just for cars
00:38:07 audience is really ourselves. And that the person
00:38:14 when you're speaking about why me in this car,
00:38:20 you're making a statement to yourself about
00:38:28 In sort of an abstract way, you're thinking about
00:38:34 and whether or not they like your Obama sticker, or
00:38:39 or your Christian fish, or whatever it might be.
00:38:43 it's your own audience, your own story of l'm not
00:38:49 Because the truth is no one cares, on the highway.
00:42:39 Design is about mass production.
00:42:43 Design is using industry to produce serialized
00:42:50 And I try everything I can in the mass market to
00:42:55 nothing about design, or the people who say they
00:42:59 don't believe their world should have contemporary
00:43:04 Those are the people I think design can have such
00:43:15 When I was a teenager, I had this white -- from
00:43:21 it was a white bubble stereo, with two bubbled white
00:43:27 And it was probably very inexpensive, it was a real
00:43:32 and the whole thing built in. And it was a beautiful
00:43:38 and thinking why it was a beautiful thing, was
00:43:43 and the message was very strong and very simple,
00:43:47 There was a quality about it, it was like a womb, it
00:43:53 It was soft, it was engaging. And I used to have this
00:43:58 that Dieter Rams designed in the late '60s.
00:44:03 And they were these objects in my life that I really
00:44:10 And I can remember going through the teenage
00:44:14 and lying on my bed, and I would just look at the
00:44:19 So I always had this really strong relationship with
00:44:28 There's something that moves through a lot of my
00:44:35 digital, technological, or techno-organic world.
00:44:40 very organic, but l'm using new technologies, I feel
00:44:46 that's a physical interpretation of the digital age.
00:44:55 We have advanced technologically so far, and yet
00:45:02 afraid to really say We live in the third technological
00:45:08 I have a mobile phone, I have a laptop, but then
00:45:13 wood-spindled Wittengale chairs. So in a way you
00:45:19 really kitsch stage sets, that have absolutely
00:45:27 It's strangel. I find it extremely perverse, in a way. I
00:45:33 Iaptop, and l've got to go out. What am I going to
00:45:39 Why do we feel like we need to keep revisiting the
00:45:46 Digital cameras, for example, their format and
00:45:51 rectangle, are modeled after the original silver film
00:45:59 the shape of the camera. All of the sudden our
00:46:03 So why on earth do we have the same shape we
00:46:08 I revisit archetypes, l've designed many chairs. With
00:46:13 a chair. What can I do here? How can I put my
00:46:18 else and every other designer? And am I playing a
00:46:23 or am I actually really doing something that is
00:46:28 are the things we are doing really making an affect
00:46:35 78% of the world is completely impractical. 78%% of
00:46:41 You feel that hotel rooms are poorly designed, you
00:46:46 And it's craziness. Imagine that if you design a
00:46:50 been done in the world, why on earth should we
00:46:53 There's no excuse whatsoever.
00:46:57 People need to demand that design performs for
00:47:02 these objects that they buy.
00:47:05 If you can't make your GPS
00:47:08 there should be a riot because
00:47:12 Instead, the person sits there and thinks, "Oh, l'm
00:47:18 I can't make the things work! This is my field and l
00:47:22 If you design something that's precious and that
00:47:27 My father's briefcase, made out of a beautiful piece
00:47:31 and l'll pass it on, right? It's a really interesting
00:47:37 design something that gets better with use. There's
00:47:44 some things like this briefcase get better with use.
00:48:03 Now that's a pretty sweet tick-over, don't you think?
00:48:10 I like the concept of wearing in
00:48:15 You'd like to create something where the emotional
00:48:21 And you may not worry about it, or think about it...
00:48:28 Iove relationship with their things, but they should
00:48:36 For example on the laptop that I designed, it's
00:48:41 but it has paint on the outside. And when it gets
00:48:47 a bit of paint chips off and you see some of the
00:48:50 somehow it feels better because of that.
00:48:56 The computer we call the Grid Compass, the
00:49:03 that was actually ever produced is this one. You
00:49:09 thin enough to fit in half your briefcase, so you
00:49:14 Then there was a leg at the back that flipped down,
00:49:20 the ergonomic preferred angle of 11 degrees. We
00:49:26 to rotate so the display could come up, but also not
00:49:32 So in order to avoid something like a pencil falling
00:49:39 if you put a pencil on the back it would roll down
00:49:44 that would then self-eject the pencil when you
00:49:49 That was a little trick.... of that.
00:49:56 When I got the first working prototype, I took the
00:50:02 wanting to use it myself. And it was with great pride
00:50:09 how clever I was to have designed this latch and
00:50:14 And then, I started to actually try and use it. And
00:50:20 forgetting all about my physical design, and
00:50:26 was happening in my relationship between what
00:50:31 I felt like I was kind of being sucked down inside the
00:50:36 and the device was all to do with the digital software
00:50:44 That made me realize that if I was going to truly
00:50:49 to learn how to design this software stuff.
00:50:57 which we ended up calling interaction design.
00:56:21 Arguably the biggest single challenge facing every
00:56:28 It's no longer possible for designers to ignore the
00:56:33 more and more new stuff that sometimes we need,
00:56:39 Designers spend most of their time designing
00:56:44 population that already own too much, when 90%%%
00:56:51 to lead a subsistent life.
00:56:58 Although a lot of designers believe emotionally and
00:57:03 they and the manufacturers they work for are
00:57:09 Because sustainability isn't some sort of pretty,
00:57:16 to design something that may or may not be in the
00:57:20 It's about redesigning every single aspect, from
00:57:28 to shipping, and then eventually designing a way
00:57:33 That's a mammoth task, so it's no wonder
00:57:37 are finding it so difficult.
00:57:45 If one's really honest with oneself, most of what you
00:57:51 And l'm pretty sure most of the products that l've
00:57:57 most instances of the millions of things that have
00:58:03 That isn't something I was conscious of when l
00:58:08 occur to me because it didn't really occur
00:58:12 Now, to be a designer, you have to take that into
00:58:18 these complex systems in which our products exist.
00:58:23 If the shelf life of a high-tech object is less than 11
00:58:30 You know, my laptop should be made of cardboard,
00:58:35 or it could be made out of something like sugar
00:58:42 Why on earth does anything have to be built to be
00:58:47 If I think about my admiration for Eames, it was an
00:58:55 the qualities of new materials which could be used
00:59:01 whether fiberglass was going to cause disease, or
00:59:06 Life was a little bit simpler for him, in that regard. He
00:59:12 for their best design attributes.
00:59:18 But now, we have to face this idea that what we do
00:59:23 individual design.
00:59:27 It's what happens afterwards, when we've finished
00:59:34 So this sort of "cradle to cradle" concept.
00:59:51 One of my very first projects was to design a
00:59:56 Brushes at that time typically were just a stick with
01:00:02 So we introduced other materials to it and we made
01:00:07 And in the end it became a really successful
01:00:12 maybe half a year after we
01:00:17 the idea was to go to the most remote beach. And
01:00:23 the next morning he steps out of the tent and he
01:00:27 whales frolicking and all perfect, and what does he
01:00:32 And it's there, and it's this brush, it's covered in
01:00:38 the bristles are worn. This brush, within months of
01:00:46 had been discarded, and found its way in the
01:00:51 it creates a big piece of landfill that apparently goes
01:01:01 Let's go ahead and start defining some of the
01:01:06 asking ourselves. Is there any toothbrush that we'd
01:01:12 So much of the toothbrush does not need to be
01:01:17 in your mouth, the rest of it is all cleanable material.
01:01:22 There could be the greatest handle in the world,
01:01:27 you could make it out of sterling silver, it could be
01:01:33 I think also the solution of the toothbrush assumes
01:01:38 or one of the main approaches to oral care is
01:01:42 What is we didn't need toothbrushes?
01:01:50 When I first started the company, the role of the
01:01:55 aesthetics, or the cleverness around function, but it
01:02:03 the company was in charge of the major piece, and
01:02:12 The question is actually not "What's the new
01:02:18 A fortune cookie with floss inside?
01:02:22 As we grew it became clear that companies were
01:02:26 of the actual design of the overall product.
01:02:30 I don't know, l'm really just enamored with the idea
01:02:34 I kind of think of it as they do analytical thinking and
01:02:39 where we're more focused on user-centered ideas,
01:02:47 are going to actually use the product. We come in
01:02:52 "What do people value, what are their needs?"
01:02:59 You get these things, and you break them apart and
01:03:04 The big design challenge here is there's a lot of
01:03:08 cleaning our teeth is probably not high on that list.
01:03:12 I think the wishbone is nice, but it should take the
01:03:17 Design thinking is a way to systematically be
01:03:25 designers make what I call mind maps, where they
01:03:29 Something leads to something else, which leads...
01:03:32 And as you're branching out you're getting to new
01:03:35 has never taken you before. And that's where
01:03:46 When I came into design,
01:03:48 designers would be at their drawing
01:03:52 drawing boards. They would maybe
01:03:56 Iook at to inspire them. One of the things that I did
01:04:04 into the environment, and put designers in the
01:04:11 and going through the steps that other people were
01:04:26 It's really about trying to make an empathic
01:04:32 Is that Helvetica?
01:04:34 It's not Helvetica, no.
01:04:37 So that as designers we're picking up on the
01:04:44 and being able somehow to identify with that, and
01:04:49 creative thinking and creative response.
01:05:01 Technology, and things you keep, things you love,
01:05:10 Cool.
01:05:13 I think today, I see my role as a designer to help
01:05:20 and the output is not necessarily obviously a
01:05:28 Recently we designed a new banking service for
01:05:34 And there are two and a half million people using
01:05:39 So we're not just giving form to the thing that has
01:05:47 I think that what designers will do in the future is to
01:05:52 for anybody who wants to create a link between
01:05:57 and reality and people. And I almost envision them
01:06:03 I always find it really funny, the French, whenever
01:06:08 the cheese war with ltaly, they go to a philosopher,
01:06:13 philosophers are the culture generators in France.
01:06:20 all over the world, and some of them really can. And
01:06:26 fundamental bricks in any kind of policymaking
01:06:32 But I see designers as designing not any more
01:06:38 but also scenarios that are based on objects that
01:06:45 of their choices. And people like Dunne and Raby
01:06:57 We use design as a medium to try and explore
01:07:02 We've got cinema, fine arts, literature, craft...
01:07:07 every other medium seems to have a part that's
01:07:11 dedicated to reflecting on important issues, yet
01:07:16 of the built environment around us doesn't do that.
01:07:21 So even though our design ideas are never really
01:07:26 suggest that they could be mass-produced or they
01:07:31 because that's part of what we're interested in.
01:07:35 We love the idea that with a product, or shopping...
01:07:40 Because what is a showroom, you go in there,
01:07:46 you project yourself into this other space. But you
01:07:51 It's true, when you walk into a gallery, you don't
01:07:56 to impact on your life. But if you walk into a shop,
01:08:01 showroom, you do imagine yourself experiencing
01:08:06 So when we do conceptual products, we're hoping
01:08:11 on the way they live their lives.
01:08:16 We were part of an exhibition and Fiona and l
01:08:21 There are four of them altogether.
01:08:24 One of them, for example, might become the
01:08:29 or on remote servers. So it's a strange, wooden
01:08:34 and it has two holes at the top, and you stare at
01:08:39 And when it's checked it's you, it releases the
01:08:44 at a retinal scanner, but a meaningful stare into this
01:08:52 "Yes, it gets me," and then you access it...
01:08:54 "There's no chance it mistook me."
01:08:57 Another thing we became interested in is as
01:09:02 one of our roles as designers might be to handicap
01:09:07 in some way, or needy. So we thought it might be
01:09:12 to call the owner over to it whenever it wants to
01:09:17 We really wanted to look at the materiality of what a
01:09:22 we wanted was when someone saw the robots, we
01:09:27 That's not even within the robot language. But the
01:09:33 immediately thinking, well what is a robot, what a
01:09:41 People, especially students, often say at the end of
01:09:46 get shown in museums and galleries, shouldn't you
01:09:51 more interested in designing to deal with ideas,
01:09:55 reaches hundreds of thousands of people, more
01:10:01 prototypes. So I think it depends, I think we're
01:10:06 more than mass production.
01:10:14 Industrial design has been so closely tied to
01:10:19 set by industry. Very quickly you come to edges of
01:10:26 of what kinds of things that the companies who
01:10:32 And we know, people want a lot more interesting
01:10:38 to cross that gap.
01:10:45 People are creative, by nature, and always not quite
01:10:52 that they have, that they've bought. They adapt it.
01:11:01 Is there some way we can better engage with
01:11:06 or to enhance what they can do for themselves, or
01:11:11 from which people can operate.
01:11:17 The tools with which we do design today are our
01:11:23 We make the shapes, people buy and use the
01:11:27 Tomorrow, this will be different. The tools to make
01:11:32 will be available to everybody.
01:11:38 Because of the connected world, the idea of
01:11:43 in a different part of the world is now becoming very
01:11:48 Before there was a sense that Africa was so far
01:11:52 but now there seems to be a sense that because of
01:11:59 As designers I think we're so far removed from the
01:12:06 prototypes can be made remotely, the actual
01:12:12 That's why a lot of the products we're surrounded
01:12:16 seems too easy, too superficial.
01:13:01 If I had a billion dollars to fund a marketing
01:13:08 "Things you already own, why not
01:13:13 Because we all have so many things, they're just
01:13:18 that we don't even think about anymore, because
01:13:23 because we're so busy processing all the exciting
01:13:28 At the end of the day, when you're looking around at
01:13:33 "What here really has value to me?" They're going
01:13:39 The hurricane is coming, you have 20 minutes, get
01:13:44 "Well that got an amazing write-up in this design
01:13:50 objects to you, because those are the true objects,
01:13:56 the true story of who you are, and what your
01:14:01 telling to yourself and no one else because that's