0:00:35 > 0:00:38MOTORBIKE REVS UP
0:00:51 > 0:00:54This is a Triumph Bonneville T100.
0:00:54 > 0:00:57Like the later Minis and Volkswagen Beetle cars,
0:00:57 > 0:01:01it's a new version of a design classic.
0:01:01 > 0:01:06If you're working out where the original Bonneville would be in the all-time great bikes,
0:01:06 > 0:01:08it would certainly be in the top ten.
0:01:08 > 0:01:12The Daytona 675 sports bike is made by the same company.
0:01:12 > 0:01:17We wanted a completely modern cutting-edge super sports bike
0:01:17 > 0:01:21that would compete head-on with the best that the world could offer.
0:01:27 > 0:01:30At the start of the project, we have a design brief.
0:01:30 > 0:01:32It's surprisingly short.
0:01:32 > 0:01:36Most people would be surprised that it's only a paragraph or two,
0:01:36 > 0:01:39which describes the bike in broad brush-strokes.
0:01:41 > 0:01:43The design brief for the Bonneville
0:01:43 > 0:01:48was that it should look and feel like an authentic 1960s bike
0:01:48 > 0:01:51but should have all the modern convenience and engineering
0:01:51 > 0:01:54that a rider would expect nowadays.
0:01:54 > 0:01:57You need to keep the feel and the style of the machine
0:01:57 > 0:02:01but obviously you don't want a 1960s motorcycle now
0:02:01 > 0:02:04because they leaked oil and weren't that reliable.
0:02:04 > 0:02:07The first step in designing a new Bonneville
0:02:07 > 0:02:09is scheming out the components
0:02:09 > 0:02:14so that they work well within the look of the bike you're fixed to.
0:02:14 > 0:02:16It's quite a difficult process
0:02:16 > 0:02:21because we're starting with an agreed look - the bike has to look like that,
0:02:21 > 0:02:25correctly proportioned, yet we have to fit in additional components
0:02:25 > 0:02:27that the original designers didn't have to.
0:02:27 > 0:02:30There's a lot of real Triumph enthusiasts
0:02:30 > 0:02:36who would want the bike to be very close to the authentic bike.
0:02:36 > 0:02:39We had to keep certain key styling features,
0:02:39 > 0:02:43like the silencers, in a pea-shooter design that start narrow,
0:02:43 > 0:02:47get fatter then narrow down again, a very classic styling cue.
0:02:47 > 0:02:50It had to have spoked wheels for chromed rims.
0:02:50 > 0:02:53It had to have the classic Bonneville fuel tank shape.
0:02:53 > 0:03:00It had to have the traditional speedo and rev-counter location, just in front of the rider.
0:03:04 > 0:03:07The new Bonneville is a sweet motorcycle to ride.
0:03:07 > 0:03:10It's got enough performance for today's road.
0:03:10 > 0:03:13The nice thing is you feel relaxed when riding it.
0:03:13 > 0:03:16It's just a good all-round package.
0:03:22 > 0:03:27On the Daytona project, we started with drawings in profile of the bike.
0:03:27 > 0:03:31We chose the best drawing, the one we wanted to continue with.
0:03:31 > 0:03:35We translated that into a full-scale mock up of the bike
0:03:35 > 0:03:38which is made out of clay and plaster and metal
0:03:38 > 0:03:42so it looks like a fully finished bike and it looked perfect.
0:03:42 > 0:03:44We said, "That's what we want to make."
0:03:44 > 0:03:48We then moved to translating all that information, all those shapes,
0:03:48 > 0:03:55into computer models. So we made Pro-Engineer CAD models of every single component
0:03:55 > 0:03:59then we moved on to actually making the parts from those CAD models.
0:04:01 > 0:04:07Any micro project is a collaboration between usually one stylist,
0:04:07 > 0:04:10who works on the parts of the bike that you see
0:04:10 > 0:04:12to make it look beautiful,
0:04:12 > 0:04:15and a team of approximately 15 engineers
0:04:15 > 0:04:17who work on the engine and chassis.
0:04:17 > 0:04:21So two separate teams, but they talk to each other a lot.
0:04:23 > 0:04:28We decided fairly early on on some major features.
0:04:28 > 0:04:32We wanted the silencer under the seat, central above the rear wheel,
0:04:32 > 0:04:34instead of down at the side of the bike.
0:04:34 > 0:04:37We thought that would give the bike a good look.
0:04:37 > 0:04:42We wanted a very functional yet heavily-styled frame
0:04:42 > 0:04:47so the frame that goes over the top of the engine is fully styled.
0:04:47 > 0:04:49It's not made from straight sides,
0:04:49 > 0:04:51it's got lovely curves and swoops.
0:04:53 > 0:04:58Basically, the designers are trying to recreate the feeling of a race bike on the road.
0:04:58 > 0:05:04So you have incredible agility and the bike goes where you want it to and reacts to the smallest input.
0:05:04 > 0:05:08You always feel you're one step ahead of the game
0:05:08 > 0:05:09on the 675.
0:05:09 > 0:05:13My top tip to anyone who wants to design motorcycles
0:05:13 > 0:05:17or if you want to draw a motorcycle, remember the human element.
0:05:17 > 0:05:21People have to ride them and want to ride them.
0:05:21 > 0:05:24There's no point drawing a streamlined torpedo with a little seat.
0:05:24 > 0:05:26Nobody will want to ride that.
0:05:47 > 0:05:48Technical Textiles is simple.
0:05:48 > 0:05:52It's about putting something into a product - a finish or design element -
0:05:52 > 0:05:55to give the customer benefit.
0:05:56 > 0:06:00To protect from spills or antimicrobial applications
0:06:00 > 0:06:02or even things like NASA spacesuits.
0:06:07 > 0:06:11A designer should be interested in new materials, new processes
0:06:11 > 0:06:13for designing things that people want.
0:06:13 > 0:06:17Something sexy, while at the same time has a low environmental impact.
0:06:17 > 0:06:21As a designer you look at these materials and say, "How can I use them?"
0:06:25 > 0:06:31Technical Textiles are used in high-tech sportswear to improve athletes' performance.
0:06:31 > 0:06:36But similar technology is also used in many clothes sold in the high street.
0:06:36 > 0:06:41You can have these high-performance chemicals in designer gear that cost thousands.
0:06:41 > 0:06:45Marks & Spencer make that accessible to the average person,
0:06:45 > 0:06:50not just as a niche available to a man climbing Everest or Olympic swimming.
0:06:55 > 0:07:00This is one of our non-iron shirts, made from cotton with a special chemical finish.
0:07:00 > 0:07:02Reduces the need for ironing.
0:07:02 > 0:07:05This is a very popular set of blue jeans.
0:07:05 > 0:07:08The finish on this keeps it dry when it's raining.
0:07:09 > 0:07:12You use Technical Textiles where they make a difference.
0:07:12 > 0:07:17You use them in school uniforms, in jeans, in coats, that sort of thing.
0:07:17 > 0:07:23You're not gonna use them in dresses or in underwear cos you don't need them.
0:07:29 > 0:07:33We've got 60 people here dedicated to putting our products together.
0:07:33 > 0:07:38They deal with new fibres, new chemicals, new production processes.
0:07:40 > 0:07:44We've just done a big study, this is not Technical Textiles per se,
0:07:44 > 0:07:47this is using technology in testing
0:07:47 > 0:07:48and proving an argument.
0:07:48 > 0:07:52Not necessarily having to put a special finish on a garment.
0:07:52 > 0:07:56For example over the last couple of years we've said to people, "Hang on.
0:07:56 > 0:08:02"You can wash at 30 degrees." We've done over 1,000 tests on different products, different loads,
0:08:02 > 0:08:05different detergents, different washing machines
0:08:05 > 0:08:08to prove that 30 degree washes work on virtually everything.
0:08:08 > 0:08:12Up to 80% of the lifecycle impact, the environmental impact of some clothes
0:08:12 > 0:08:16comes in the clothes washing phase, the use phase.
0:08:16 > 0:08:19Anything you can do to reduce that burden is great.
0:08:19 > 0:08:21By washing at 30 degrees instead of 40,
0:08:21 > 0:08:24it's estimated that somewhere near the equivalent
0:08:24 > 0:08:31of 2,500 villages in the UK's annual energy is saved, just by making that small change.
0:08:31 > 0:08:36If every single one of us washed at 30 degrees, rather than the 30% of people that do now,
0:08:36 > 0:08:41we could save the same amount of CO2 as taking 300,000 cars off the road.
0:08:49 > 0:08:55Technical Textiles won't break down in landfill and the environment like natural materials.
0:08:55 > 0:08:58There's a big problem with Technical Textiles not breaking down.
0:08:58 > 0:09:02They're in landfill for the next 1,000 years. That's a big issue.
0:09:02 > 0:09:08However, you can also argue that Technical Textiles are good because they extend the life of the product.
0:09:08 > 0:09:13So you get a balance there. They don't come to the end of their life as quickly
0:09:13 > 0:09:16but when they do, they're harder to recycle
0:09:16 > 0:09:19and they won't break down in the natural environment.
0:09:19 > 0:09:22Recycling clothing in future will be vital.
0:09:22 > 0:09:26Three billion items of clothes are sold in the UK every year.
0:09:33 > 0:09:37It's daft. What can we do to encourage people to recycle more?
0:09:37 > 0:09:40First, take it back to a charity shop.
0:09:40 > 0:09:42Longer-term we have to find other solutions.
0:09:42 > 0:09:46For example, can you take the wool from a woollen suit
0:09:46 > 0:09:48and turn it into insulation?
0:09:48 > 0:09:51Can you turn it into a growing material to use in a field?
0:09:51 > 0:09:57There are lots of longer term things to look at in terms of Technical Textiles to crack recyclability.
0:09:57 > 0:10:01In five years, it'll be very difficult for manufacturers to produce stuff
0:10:01 > 0:10:04that won't degrade or can't be recycled at end of life.
0:10:04 > 0:10:09Can you design a great-looking product at the right price for the mass market
0:10:09 > 0:10:14that is also genuinely sustainable with a minimum impact on people and the environment
0:10:14 > 0:10:18when you grow it, use it, dispose of it, all at the same time.
0:10:18 > 0:10:22If you can solve that, we want you knocking on our door!
0:10:33 > 0:10:39Crime happens every day. Designers can play a key role in helping fight against it.
0:10:42 > 0:10:46To do so, they must be as innovative as the criminals they are designing against.
0:10:51 > 0:10:57The Design Against Crime Research Centre is a crack team of designers, researchers and criminologists.
0:10:57 > 0:11:01Our first approach is to look at the products already out there
0:11:01 > 0:11:04to see what's good and bad about them.
0:11:04 > 0:11:07Then we actually watch people use them
0:11:07 > 0:11:11and we observe what the problems are and what could be improved.
0:11:15 > 0:11:18Karrysafe range of bags and accessories
0:11:18 > 0:11:22responded to the theft techniques we identified.
0:11:22 > 0:11:24People get their bags pick-pocketed,
0:11:24 > 0:11:26they get their bags slashed.
0:11:26 > 0:11:29They get bags lifted simply from the ground.
0:11:29 > 0:11:31Some people are attacked.
0:11:36 > 0:11:38They go in, open the zips,
0:11:38 > 0:11:42you don't notice on a busy tube or something when you're rocking about.
0:11:42 > 0:11:45They undo the zip, take what they want out of it.
0:11:45 > 0:11:51They can't do that with this bag. Doesn't have zips. The way in is through the Velcro on top.
0:11:51 > 0:11:53If someone opens that when it's on your back,
0:11:53 > 0:11:55there's a noise.
0:11:55 > 0:11:58If that's on my back and someone goes into it, I'll hear it.
0:11:58 > 0:12:00They won't get in like they would with a zip.
0:12:05 > 0:12:09They take a blade, slash along the bottom while it's on your back.
0:12:09 > 0:12:13They take what they want. You're left with an empty bag.
0:12:13 > 0:12:18This has a wire mesh between the lining fabric and the outer fabric.
0:12:18 > 0:12:21So they can't slash their way in.
0:12:25 > 0:12:28This is the Karrysafe Screamer. It's a laptop bag.
0:12:28 > 0:12:32If someone tries to grab this bag off me,
0:12:32 > 0:12:35I want the bag to go with them so I don't get injured.
0:12:35 > 0:12:39That's the advice of the police and self-defence experts.
0:12:39 > 0:12:44This strap here is put together with a bit of Velcro.
0:12:44 > 0:12:46So if they rip the bag off me,
0:12:46 > 0:12:49the strap separates, takes this cord with it.
0:12:49 > 0:12:53On the end of the cord is a pin that goes into an alarm inside this bag.
0:12:53 > 0:12:57If someone grabs this bag from me, the strap will break
0:12:57 > 0:12:59and the pin will pull out.
0:12:59 > 0:13:00HIGH-PITCHED ALARM SOUNDS
0:13:00 > 0:13:05The alarm will go off. The thief goes off with the bag screaming at 140 decibels.
0:13:05 > 0:13:07They can't cut their way in,
0:13:07 > 0:13:11they can't open it cos we've got a padlock on top of here, so they'll chuck it.
0:13:11 > 0:13:16I follow the sound, pick up my bag, I know the combination and I turn it off.
0:13:16 > 0:13:19I reset my strap and off I go with my laptop.
0:13:25 > 0:13:28We know more and more people are using bikes to get around.
0:13:28 > 0:13:33But the Centre's research showed many people stopped cycling altogether
0:13:33 > 0:13:35when their bikes were stolen.
0:13:35 > 0:13:37I've had about five bikes stolen.
0:13:37 > 0:13:39So have many of my friends.
0:13:39 > 0:13:41I'd had enough. I'm a designer.
0:13:41 > 0:13:47How can we design different types of bike parking and different bikes that are less likely to be stolen?
0:13:47 > 0:13:52The team discovered one of the biggest problems is how people lock up their bikes.
0:13:53 > 0:13:59So they came up with a range of stands where the design encourages users to lock more securely.
0:14:02 > 0:14:04This is the Camden M stand.
0:14:04 > 0:14:07It's called and M stand cos it's shaped like the letter M.
0:14:07 > 0:14:12We looked at 8,500 bikes being parked to a Sheffield-type stand
0:14:12 > 0:14:16which look like the letter N with a crossbar across here.
0:14:16 > 0:14:19We found that 21% of those bikes
0:14:19 > 0:14:21locked their crossbar to the stand
0:14:21 > 0:14:24cos it's the easiest thing to do when you roll alongside.
0:14:24 > 0:14:29If you do that, you can get your wheels taken cos they're not locked to the stand.
0:14:29 > 0:14:32Or someone can lift up the whole bike, as thieves will do,
0:14:32 > 0:14:34and use the bike as a lever
0:14:34 > 0:14:38and twist the bike around against the lock, pop the lock and take the bike.
0:14:38 > 0:14:44With this design, the simple idea is there is no horizontal component so they can't lock the crossbar to it.
0:14:44 > 0:14:47So it encourages them, the easiest thing to do,
0:14:47 > 0:14:49is to lock the bike down here
0:14:49 > 0:14:52where you get the wheel and the frame on the stand.
0:14:52 > 0:14:53That's the securest way.
0:14:53 > 0:14:57A lot of products that are aimed at designing out crime
0:14:57 > 0:15:00make the environment look like a fortress.
0:15:00 > 0:15:02You see bars, locks, big dogs, gates.
0:15:02 > 0:15:07So that's part of our philosophy that you can design out crime.
0:15:07 > 0:15:11But you don't have to make the world look criminal in the process.
0:15:23 > 0:15:26Games consoles are amongst our most desired products.
0:15:26 > 0:15:31The design process behind the consoles and their games is different for each.
0:15:32 > 0:15:37The Nintendo DS was released in the UK in 2005.
0:15:37 > 0:15:40What was the thinking behind its design?
0:15:40 > 0:15:43And how did it change the way games are played?
0:15:44 > 0:15:50For a long time, video games had been squarely aimed at 16- to 24-year-old men.
0:15:50 > 0:15:54What we saw was the need to expand that beyond that
0:15:54 > 0:16:00so for a female audience and also for much older people as well.
0:16:00 > 0:16:05We wanted to create a device that could be used whether you're five or 95.
0:16:08 > 0:16:10The DS is a hand-held games machine
0:16:10 > 0:16:13with a clam shell form factor so you open it to play.
0:16:13 > 0:16:16It's got two screens. One is a touch screen
0:16:16 > 0:16:22so you can directly control the game with a stylus or bottom screen while watching the top screen.
0:16:22 > 0:16:28You can now simply point and touch the item you want to
0:16:28 > 0:16:31and we really saw that as being the pivotal feature
0:16:31 > 0:16:36and that's why everything of the Nintendo DS was built around that new technology.
0:16:36 > 0:16:41It was the first hand-held console to have touch-screen technology.
0:16:41 > 0:16:46There'd been experiments with big arcade machines that had touch sensitivity.
0:16:46 > 0:16:49But this was the first time anybody had been able to deliver it
0:16:49 > 0:16:52in a hand-held machine, which is crucial
0:16:52 > 0:16:57because if you're operating something with a touch screen it's much easier if you hold it.
0:16:57 > 0:17:00You've also got the option of the microphone
0:17:00 > 0:17:05which is still something designers are struggling to find the best uses for.
0:17:05 > 0:17:10But anyone who's played something like Nintendogs and experienced calling to their dog
0:17:10 > 0:17:14and have it respond knows that it can be hugely intuitive.
0:17:16 > 0:17:20With a hand-held console, there are lots of things to consider.
0:17:20 > 0:17:22The weight of the device, the size of the device.
0:17:22 > 0:17:27Does it fit in your pocket? You have to consider battery consumption.
0:17:27 > 0:17:33If it is a portable device to take around with you, make sure it has the capability to be used
0:17:33 > 0:17:35in a real world situation.
0:17:35 > 0:17:40So we spend a lot of time looking at what materials we use
0:17:40 > 0:17:44not least because we have to make sure it's robust.
0:17:44 > 0:17:47The first DS was, frankly, a funny-looking thing.
0:17:47 > 0:17:49It was squat, it looked a bit cheap,
0:17:49 > 0:17:52it wasn't very symmetrical, a bit lumpy.
0:17:52 > 0:17:54Didn't fit in your pocket very well.
0:17:54 > 0:17:56It wasn't very warmly received.
0:17:56 > 0:18:02The Nintendo DS Lite, we tried to make it a little bit similar to Apple
0:18:02 > 0:18:07which is a brand that appeals to a very wide audience.
0:18:07 > 0:18:13Very gender neutral. Interesting to see technology being made in white and pink and blue,
0:18:13 > 0:18:18a wider range of colours rather than everything being silver or black, as it had tended to be before.
0:18:18 > 0:18:21You can't really launch a piece of hardware
0:18:21 > 0:18:25unless you've got software that benefits from the new features.
0:18:26 > 0:18:29Geometry Wars - Galaxies - is one DS title.
0:18:29 > 0:18:33This retro shooting game was originally made for the X-box
0:18:33 > 0:18:36where joysticks were used to control the action.
0:18:36 > 0:18:39Developers and designers were asked to make a new version
0:18:39 > 0:18:42which embraced touch screen technology.
0:18:42 > 0:18:46One aspect of this that makes it so suitable for the console is the touch screen control
0:18:46 > 0:18:50because it does such a good job at being like the joystick
0:18:50 > 0:18:51on the original version.
0:18:51 > 0:18:55The player has complete control over which direction they shoot in
0:18:55 > 0:18:57which is key to the game play.
0:18:59 > 0:19:01When you're developing a game on the DS,
0:19:01 > 0:19:04you're developing straight onto the console.
0:19:04 > 0:19:06We have special versions of the console
0:19:06 > 0:19:09that allow us to download the data straight to it
0:19:09 > 0:19:11so we're able to use the touch screen
0:19:11 > 0:19:15and use the DS in the same way, hear the sounds as they should be heard.
0:19:17 > 0:19:22The most obvious effect the DS has had is to change who's playing the games and what they're playing.
0:19:27 > 0:19:30By changing the kind of games that are possible,
0:19:30 > 0:19:35it's really changed the kind of people who've come into the gaming world.
0:19:46 > 0:19:49The Panama Canal is one of the biggest engineering projects
0:19:49 > 0:19:51ever to be undertaken.
0:19:51 > 0:19:53It took almost 35 years to complete
0:19:53 > 0:19:57and 28,000 men lost their lives.
0:19:57 > 0:20:01It is now one of the most important and busiest waterways in the world.
0:20:01 > 0:20:0714,000 ships a year, transporting 200 million tonnes of cargo,
0:20:07 > 0:20:09use the canal as a shortcut
0:20:09 > 0:20:11between the Pacific and Atlantic Oceans,
0:20:11 > 0:20:14saving them time and money.
0:20:14 > 0:20:18The money the ships pay to use the canal is a valuable income to the people of Panama.
0:20:18 > 0:20:21One they can't afford to lose.
0:20:26 > 0:20:32The canal itself is composed of three locks in the Pacific Ocean
0:20:32 > 0:20:34and three locks in the Atlantic.
0:20:34 > 0:20:36The ship gets into a lock,
0:20:36 > 0:20:39the water is filled into that lock to the next level
0:20:39 > 0:20:43and then it goes from the first lock to the second, to the third lock
0:20:43 > 0:20:48like climbing steps until it reaches Gatun Lake.
0:20:48 > 0:20:50At the end of its journey,
0:20:50 > 0:20:53it has to go down again to reach the oceans.
0:20:56 > 0:20:57It is an important route
0:20:57 > 0:21:02for the supplies that come from the eastern part of Asia
0:21:02 > 0:21:04to the eastern part of North America.
0:21:08 > 0:21:12Right now, the amount of ships that can go through the Panama Canal
0:21:12 > 0:21:14is up to capacity.
0:21:14 > 0:21:17You cannot pass more ships than what it is passing right now.
0:21:17 > 0:21:20So we are going to add a new line of locks
0:21:20 > 0:21:23in order to be able to pass more ships.
0:21:32 > 0:21:38We are building a new lock which is bigger than the existing ones
0:21:38 > 0:21:40so that we can put in bigger ships
0:21:40 > 0:21:44and that way be able to pass more tonnage and more cargo
0:21:44 > 0:21:48to different ports around the world.
0:21:52 > 0:21:55The existing gates open like a door.
0:21:55 > 0:21:59The new locks are going to have a rolling gate.
0:21:59 > 0:22:02Exactly the same system as a sliding door.
0:22:03 > 0:22:07Instead of using locomotives, we're going to use tugs
0:22:07 > 0:22:09to keep the ships in place
0:22:09 > 0:22:13so that we can go from one lock to another.
0:22:16 > 0:22:20The whole process is complex and it takes a long time
0:22:20 > 0:22:22because there are lots of details.
0:22:23 > 0:22:29One of the first things to do is find out if you have adequate water
0:22:29 > 0:22:32to be able to supply your expansion.
0:22:32 > 0:22:35Then you have to make a design of these structures.
0:22:35 > 0:22:38You have to secure the financing.
0:22:38 > 0:22:42And then you have at the end all the testing of all the gates,
0:22:42 > 0:22:44the filling and emptying system.
0:22:46 > 0:22:52We've studied the impact it would have to add more transits
0:22:52 > 0:22:54to the quality of the water of Gatun Lake
0:22:54 > 0:22:57so that the water will not get salty,
0:22:57 > 0:23:00because the water is used for human consumption.
0:23:02 > 0:23:06If the ship is bigger, it goes deeper into the water.
0:23:06 > 0:23:11To be able to pass a bigger ship, we have to deepen the navigational channel
0:23:11 > 0:23:14on both the Atlantic and the Pacific.
0:23:14 > 0:23:19We have a lot of wildlife in the area around the canal.
0:23:19 > 0:23:24We have a lot of rescue plans for the animals that will be affected.
0:23:27 > 0:23:29We're going to build a very, very large project
0:23:29 > 0:23:31in a very small country.
0:23:31 > 0:23:34We have to look very far ahead.
0:23:34 > 0:23:38We're trying to have local labour benefit as much as possible.
0:23:38 > 0:23:42We're doing all the training for carpenters, electricians,
0:23:42 > 0:23:47drivers, equipment operators, so that we can supply that labour
0:23:47 > 0:23:50and that will be of benefit to the Panamian people.
0:23:55 > 0:24:00Once it is finished, it will have a huge impact in the shipping industry.
0:24:00 > 0:24:04We'll be able to practically double the amount of cargo
0:24:04 > 0:24:06that comes through the canal.
0:24:07 > 0:24:14By being able to pass bigger ships, we should get the cost of goods to be cheaper
0:24:14 > 0:24:21because a ship that pays an amount of money can pass more materials through the canal
0:24:21 > 0:24:23than the existing ships.
0:24:23 > 0:24:25So it will be felt all over the world.
0:24:29 > 0:24:36The Millennium Bridge was the first pedestrian bridge to be built across the Thames in London for 100 years,
0:24:36 > 0:24:41connecting the north bank at St Paul's Cathedral to the South Bank at the Tate Modern.
0:24:42 > 0:24:45The original design concept of the bridge
0:24:45 > 0:24:51was to take the simplest most elegant way of crossing the water. We wanted a straight line
0:24:51 > 0:24:53from bank to bank.
0:24:53 > 0:24:58We wanted to have the opportunity to look on both sides
0:24:58 > 0:25:00without any structure in your way.
0:25:00 > 0:25:03We wanted you hovering on a very thin deck.
0:25:03 > 0:25:07We started by saying we'll make the bridge out of concrete
0:25:07 > 0:25:10and pull steel cables through the concrete
0:25:10 > 0:25:12and anchor them on each side.
0:25:12 > 0:25:15Then we realised we didn't need the concrete.
0:25:15 > 0:25:19We'd take the concrete out and just leave the steel cables.
0:25:20 > 0:25:24We chose steel for the bridge for two reasons. First of all,
0:25:24 > 0:25:28the cables have to be strong enough to resist the loads
0:25:28 > 0:25:33of all the people who will stand on the bridge and the winds that'll blow the bridge.
0:25:33 > 0:25:37The structure mustn't break. Second, it's a very stiff material.
0:25:37 > 0:25:42When all the people stand on the bridge, we don't want it to bend like a ruler
0:25:42 > 0:25:44and move a long way.
0:25:44 > 0:25:46Steel is fantastic. It's very stiff.
0:25:51 > 0:25:53The bridge opened on June 10 2000.
0:25:53 > 0:25:57There was a sponsored walk that day. It was incredibly crowded.
0:25:57 > 0:26:01When we got very large groups of people walking over,
0:26:01 > 0:26:05there'd be sideways movements, maybe about 50 millimetres,
0:26:05 > 0:26:07in either direction.
0:26:07 > 0:26:11I was on the bridge when this happened, so I could feel this movement.
0:26:11 > 0:26:14And it was a shock.
0:26:15 > 0:26:20I was looking and watching how it was moving
0:26:20 > 0:26:23and discussing it with the other engineers in the team.
0:26:23 > 0:26:27What was happening was that the crowd were walking normally onto the bridge
0:26:27 > 0:26:33and then adjusting their steps to be in time with that tiny movement
0:26:33 > 0:26:35that they sensed beneath them.
0:26:35 > 0:26:38The more they adjusted their steps to be in time with the bridge,
0:26:38 > 0:26:40the more the bridge moved.
0:26:40 > 0:26:41It was a feedback effect
0:26:41 > 0:26:45and the movements gradually grew as a result.
0:26:47 > 0:26:50We looked around very quickly
0:26:50 > 0:26:54to see if we could find any information about it, and we could.
0:26:54 > 0:26:57We found two or three papers which mentioned the effect
0:26:57 > 0:27:00but they didn't quantify it.
0:27:00 > 0:27:03We could nowhere where they'd measured the force
0:27:03 > 0:27:07and decided how, specifically,
0:27:07 > 0:27:09to design against it.
0:27:09 > 0:27:11So we decided to carry out our own tests.
0:27:11 > 0:27:15The best way to replicate what happened on the bridge
0:27:15 > 0:27:18was to do exactly the same thing again
0:27:18 > 0:27:21and then measure the way the bridge moved as they crossed it.
0:27:25 > 0:27:29Once we had this, we could go about designing a solution
0:27:29 > 0:27:31to stop the movements.
0:27:31 > 0:27:33We came up with a damping solution.
0:27:33 > 0:27:36Dampers are like the shock absorber on your car.
0:27:36 > 0:27:38They're a cylinder of oil basically
0:27:38 > 0:27:42which is very thick and there's a piston
0:27:42 > 0:27:48which pushes through that fluid, like pulling a teaspoon through honey.
0:27:48 > 0:27:52What happens is that the damper is fixed to the bridge
0:27:52 > 0:27:56so that when the bridge moves, tiny movements of less than a millimetre,
0:27:56 > 0:27:58as pedestrians walk over it,
0:27:58 > 0:28:02the energy from the pedestrians is absorbed in those dampers.
0:28:06 > 0:28:09We've installed the dampers right up underneath the deck
0:28:09 > 0:28:12so you can't really see them from the side.
0:28:14 > 0:28:17The Millennium Bridge behaved exactly as predicted
0:28:17 > 0:28:20for all of the forces that we predicted.
0:28:20 > 0:28:24We didn't predict, because we didn't know about,
0:28:24 > 0:28:27this particular sideways effect, the feedback effect.
0:28:27 > 0:28:30What we wanted to do when we finished
0:28:30 > 0:28:32was make sure that everybody else could learn
0:28:32 > 0:28:35from all the research we've done.
0:28:35 > 0:28:40It has changed the way that bridges are designed all over the world.
0:28:40 > 0:28:44I'm proud to have been part of the team that worked on this bridge.
0:28:44 > 0:28:47It's a privilege to be able to take something
0:28:47 > 0:28:50right from the beginning, from the very early concepts,
0:28:50 > 0:28:54through the design and the analysis, through drawing it,
0:28:54 > 0:28:58working out every single piece, making prototypes and doing tests,
0:28:58 > 0:29:00right to the end when it's finished.
0:29:00 > 0:29:04When we look at the sketches that we came up with back in 1996
0:29:04 > 0:29:07they look very similar to what's over the river now. I loved it.
0:29:07 > 0:29:10It's been very exhausting, very stressful
0:29:10 > 0:29:13but I'm really proud of the result.
0:29:20 > 0:29:23It's getting harder and harder to get from A to B.
0:29:23 > 0:29:26The pace of life is getting faster and faster
0:29:26 > 0:29:30and people are demanding to get to places quicker and quicker,
0:29:30 > 0:29:32clogging up our transport networks.
0:29:32 > 0:29:36Something needs to be done, and it needs to be done fast.
0:29:39 > 0:29:43The congestion problem arises because we're short of capacity.
0:29:43 > 0:29:46There isn't enough room on the transport networks.
0:29:46 > 0:29:51The answer to that is to build new high-speed railway lines.
0:29:51 > 0:29:56Our fastest trains travel at 200km an hour, pretty good.
0:29:56 > 0:30:02High-speed trains travel at 300km an hour or even faster than that.
0:30:02 > 0:30:06Fast, efficient, one city to another, non-stop,
0:30:06 > 0:30:09no messing around, very reliable and very quick.
0:30:14 > 0:30:18The great advantage is you're starting again.
0:30:18 > 0:30:21We can have much longer, bigger trains
0:30:21 > 0:30:24as well as faster and more energy efficient.
0:30:24 > 0:30:29So we can design the whole thing with today's objectives in mind.
0:30:29 > 0:30:31The thing about speed is,
0:30:31 > 0:30:34it means more people will use it.
0:30:34 > 0:30:40We need to persuade people who say, "I'll take the car, the easy option." No.
0:30:40 > 0:30:46Electric high-speed rail is a much better option in terms of carbon and global warming.
0:30:49 > 0:30:54If we look around the world, the French started back in 1982.
0:30:55 > 0:30:57In Japan we have the bullet train.
0:30:58 > 0:31:02In China, we have a system that does away with the track and wheels.
0:31:02 > 0:31:07The train actually floats above the trackway. It's new technology
0:31:07 > 0:31:09and it's expensive!
0:31:11 > 0:31:16We've tried very hard in this country to make the best use of what we've got.
0:31:16 > 0:31:20We've taken our existing railway lines and made trains tilt
0:31:20 > 0:31:26to take bends faster. That's been our approach rather than building a new line.
0:31:28 > 0:31:30We've got High Speed 1.
0:31:30 > 0:31:33One fast line from this station, St Pancras,
0:31:33 > 0:31:36Eurostar services to the Channel Tunnel and nothing else.
0:31:38 > 0:31:44High Speed 1 is considered to be the project of the century in the UK.
0:31:46 > 0:31:49We think about the railway connecting point A to point B.
0:31:49 > 0:31:53But what really matters is what the railway does in-between.
0:31:53 > 0:31:55It connects communities and cities.
0:31:55 > 0:31:58The real engineering challenges
0:31:58 > 0:32:02were the fact that 25% of the route was in tunnels - big tunnels.
0:32:02 > 0:32:07And we had to construct 150 bridges.
0:32:07 > 0:32:12One of the 150 was the largest spanning high-speed railway bridge in the world.
0:32:12 > 0:32:15When we had to go under the QE2 bridge,
0:32:15 > 0:32:19the technique we used was called "push launch".
0:32:19 > 0:32:22You construct the bridge in segments
0:32:22 > 0:32:25and you push the segments out
0:32:25 > 0:32:28across into the end positions.
0:32:28 > 0:32:33We used the technique to be able to push our bridge
0:32:33 > 0:32:34over one motorway
0:32:34 > 0:32:36and then under the bridge
0:32:36 > 0:32:40without having to stop the traffic or cause any disruption.
0:32:40 > 0:32:43Extremely efficient, very safe,
0:32:43 > 0:32:46and very, very high quality.
0:32:46 > 0:32:50That was quite a remarkable piece of construction.
0:32:50 > 0:32:55The tunnelling was incredibly exciting and challenging.
0:32:55 > 0:32:59We were forming the largest tunnels ever formed under London.
0:32:59 > 0:33:01These were 8.1 metres in diameter
0:33:01 > 0:33:04and we formed 40km of these tunnels.
0:33:04 > 0:33:08We used state-of-the-art tunnel boring machines
0:33:08 > 0:33:13and these machines are absolutely fantastic pieces of technology.
0:33:13 > 0:33:18The tunnelling takes place 24 hours a day
0:33:18 > 0:33:23and is a process of supreme logistics
0:33:23 > 0:33:26in terms of being able to get the men and materials to the front
0:33:26 > 0:33:30and to get the spoil, the soil, away from you.
0:33:34 > 0:33:36We do need a long-term plan.
0:33:36 > 0:33:40It would be silly to do this piece-meal without thinking ahead.
0:33:40 > 0:33:44This is something that's gonna last not ten, 20 years,
0:33:44 > 0:33:4750 years, 100 years and so forth.
0:33:47 > 0:33:50In my view, we need to think about building
0:33:50 > 0:33:55at least one north/south high-speed line, almost certainly two.
0:33:55 > 0:33:58And we do need to link them in to what we've got.
0:33:58 > 0:34:01That's the carbon-friendly way
0:34:01 > 0:34:04of thinking about European travel in future.
0:34:09 > 0:34:11For almost 2,000 years,
0:34:11 > 0:34:14the City of London has stood on the banks of the River Thames.
0:34:14 > 0:34:19But the relationship between London and its river has not always been an easy one.
0:34:19 > 0:34:26In 1953, 300 people died when a tidal surge caused the Thames and east coast to flood.
0:34:26 > 0:34:30Almost 30 years later, the Thames barrier was eventually completed.
0:34:30 > 0:34:32Built to protect London,
0:34:32 > 0:34:35it keeps the water out in times of storms and high tides.
0:34:36 > 0:34:39Our climate is changing. Sea levels are rising.
0:34:39 > 0:34:43So how long will the Thames Barrier keep London safe
0:34:43 > 0:34:45and what are the alternatives?
0:34:45 > 0:34:51We have an expanding population and those people need somewhere to live. In the Thames Estuary,
0:34:51 > 0:34:54there's a target of between 140 to 200,000 homes.
0:34:54 > 0:34:57Most of those need to be built on brown-field sites
0:34:57 > 0:35:00and much of those are in the flood plain.
0:35:01 > 0:35:05Previously, the approach is to hold back water.
0:35:05 > 0:35:09The difficulty with that is that as over time our sea levels rise
0:35:09 > 0:35:12how high do we continue to build?
0:35:12 > 0:35:17Through climate change, there's an increased risk to the homes from flooding.
0:35:17 > 0:35:20As designers we try to look at that holistically,
0:35:20 > 0:35:23looking at the architecture, looking at water consumption
0:35:23 > 0:35:26and looking at how to create beautiful places to live.
0:35:26 > 0:35:30We've taken our influences from a number of sources.
0:35:30 > 0:35:34For example, in the UK we have houses built on stilts
0:35:34 > 0:35:37and in the Netherlands we have houses which are floating
0:35:37 > 0:35:41and amphibious houses, a combination between a land-based house
0:35:41 > 0:35:43and houses that float on water.
0:35:43 > 0:35:49A really good example of floating amphibious houses is in the Netherlands in Maasbommel.
0:35:53 > 0:35:56The reason this technology emerged in the Netherlands
0:35:56 > 0:36:00is more than 60% is below sea level.
0:36:00 > 0:36:04There's always the possibility that there will be a flood.
0:36:05 > 0:36:08One of the major aspects is the floating construction.
0:36:08 > 0:36:13The floating construction consists of concrete pontoons
0:36:13 > 0:36:15which give buoyancy to the construction
0:36:15 > 0:36:21which was in fact used as the basement for the dwelling.
0:36:22 > 0:36:25In normal times, in dry times, they rest on dry land.
0:36:25 > 0:36:31So on the outside, you can't see it's a floating construction.
0:36:31 > 0:36:36But it starts to float as soon as water enters the area.
0:36:36 > 0:36:39From the outside, it's a very normal building.
0:36:39 > 0:36:45To prevent the whole structure from drifting away when there's a flood,
0:36:45 > 0:36:51we placed two big piles in the middle of the construction.
0:36:51 > 0:36:57In a floating home, or amphibious home, everything is moving.
0:36:57 > 0:36:59When a flood wave comes into the area,
0:36:59 > 0:37:02the whole dwelling starts to float.
0:37:02 > 0:37:06So the utilities, the piping system, should be flexible.
0:37:06 > 0:37:09Also the walkway needs to be flexible.
0:37:09 > 0:37:14One of the major challenges is that when there's a major flood in that area,
0:37:14 > 0:37:16people are isolated
0:37:16 > 0:37:19for up to perhaps two weeks.
0:37:23 > 0:37:26We're looking at a number of things simultaneously.
0:37:26 > 0:37:30First, we're looking to make space and room for the river.
0:37:30 > 0:37:36One of the underlying facts in the design that we do is continuity of daily life.
0:37:36 > 0:37:40We want people to be able to go to school, to work, every day.
0:37:40 > 0:37:42All the things a community needs plus the houses.
0:37:42 > 0:37:45We try to locate those out of the flood plain.
0:37:45 > 0:37:49In a small flood, the water is channelled into the canal paths
0:37:49 > 0:37:51which are located above the village green.
0:37:51 > 0:37:55This is much like a traditional village green
0:37:55 > 0:37:57used for recreation or sports.
0:37:57 > 0:38:00But in this scenario, it has an added benefit.
0:38:00 > 0:38:04As the river expands, the village green becomes the village blue!
0:38:04 > 0:38:08In a large event the river can expand right up to the houses
0:38:08 > 0:38:09and into the gardens.
0:38:09 > 0:38:13The houses are elevated sufficiently high enough
0:38:13 > 0:38:16so that water does not come in to the homes.
0:38:16 > 0:38:17What is clear
0:38:17 > 0:38:19is climate change is with us.
0:38:19 > 0:38:24We need to change the way in which we design and the way in which we live.
0:38:24 > 0:38:27If we don't, flood events like those in Boscastle, Tewkesbury
0:38:27 > 0:38:30and more recently in New Orleans
0:38:30 > 0:38:33will be more prolific and will affect our everyday lives.
0:38:57 > 0:39:02The idea was to try and develop a system that would make the collection of water
0:39:02 > 0:39:05a lot easier and a bit more fun
0:39:05 > 0:39:08because collecting water from a river or dam is hard work.
0:39:08 > 0:39:12We wanted to put something light into it
0:39:12 > 0:39:15and we came up with the idea of a play pump, a roundabout.
0:39:18 > 0:39:20This is our play pump system.
0:39:20 > 0:39:22It's a children's merry-go-round
0:39:22 > 0:39:24and as the children spin on this thing,
0:39:24 > 0:39:29it pumps water from a bore hole it's bolted on top of, right here.
0:39:29 > 0:39:31This goes round and round, the pump goes up and down.
0:39:31 > 0:39:37The water's been tested. It's safe for human consumption, to World Health standards.
0:39:37 > 0:39:39It works both directions.
0:39:39 > 0:39:43No matter which way the kids spin, it still pumps water through pipes
0:39:43 > 0:39:45into this pipe here
0:39:45 > 0:39:49and pumps into the top of this 2,500 litre storage tank.
0:39:49 > 0:39:52This pipe is on the top of the tank. This is the overflow.
0:39:52 > 0:39:55So if the kids fill the tank,
0:39:55 > 0:39:58it overflows down this pipe and back into the bore hole.
0:39:58 > 0:40:01Then this is the outlet from the bottom of the tank
0:40:01 > 0:40:04that goes over to this tap-stand here.
0:40:04 > 0:40:07The tap-stand is very simple. Nice and sturdy
0:40:07 > 0:40:11so it doesn't get damaged by cattle or over-enthusiastic children.
0:40:11 > 0:40:13It has a very simple tap
0:40:13 > 0:40:16and the water's stored in this, so as you turn the tap on,
0:40:16 > 0:40:18there's plenty of water.
0:40:25 > 0:40:29Africa doesn't need high-tech. It needs low-tech. That's what we need.
0:40:29 > 0:40:32Computers they break down and make good seats.
0:40:32 > 0:40:34There's nobody to fix anything.
0:40:34 > 0:40:38We keep it as simple as possible. It's only got two moving parts.
0:40:38 > 0:40:44With keeping it that simple, the reliability of it is increased dramatically.
0:40:48 > 0:40:51The immediate impact is that the kids attend school.
0:40:51 > 0:40:52Especially the girls.
0:40:52 > 0:40:57The task of water collection is usually forced to women and girls.
0:40:57 > 0:40:59Not just in Africa, but in every rural country.
0:40:59 > 0:41:03They have a disproportionate disadvantage because of their gender.
0:41:03 > 0:41:06They're expected to collect water.
0:41:07 > 0:41:09Boys like to play on the pump.
0:41:09 > 0:41:12They never got involved in water collection before.
0:41:12 > 0:41:16The boys like so spin faster and get people to fall off
0:41:16 > 0:41:20and indirectly we're changing the gender responsibility from boys to girls.
0:41:29 > 0:41:33We try and install the play pumps at primary schools,
0:41:33 > 0:41:37combined schools, creches, anywhere where there's a lot of children
0:41:37 > 0:41:43that congregate and are in the right age group - six to 14 years is perfect for us.
0:41:43 > 0:41:45We try to avoid putting them into communities.
0:41:45 > 0:41:50Mainly because it's unknown as to how many kids are around.
0:41:50 > 0:41:52So we prefer to put them in schools.
0:41:56 > 0:42:01I just want to show you the water supply to this creche
0:42:01 > 0:42:04and the school and the church and the community had
0:42:04 > 0:42:06prior to us putting in the play pump.
0:42:08 > 0:42:11It's an open well.
0:42:11 > 0:42:15The access to water is using a rope
0:42:15 > 0:42:17and a bucket.
0:42:18 > 0:42:21By throwing it down like that into the water.
0:42:21 > 0:42:27The problem with this is this area's called Winterveld
0:42:27 > 0:42:31and the water table is very shallow.
0:42:31 > 0:42:34The problem with shallow water tables
0:42:34 > 0:42:39is that the water is always very polluted from all sorts of things.
0:42:39 > 0:42:42People throwing dirty water out under the surface
0:42:42 > 0:42:45but mainly from these pit latrines which are only in 1.5 metres.
0:42:45 > 0:42:49One there, two behind this building. A couple more here.
0:42:49 > 0:42:54What happens is that the waste, the liquid and solid waste, human waste
0:42:54 > 0:42:57leeches into the surface water and it's in here.
0:42:58 > 0:43:02The kids used to get really sick. Diarrhoea and vomiting, all sorts,
0:43:02 > 0:43:06before we put the play pump in. School attendance has increased dramatically.
0:43:06 > 0:43:10For me, that's a great success.
0:43:13 > 0:43:16Two of the billboards are commercial.
0:43:16 > 0:43:20The funds we get for the adverts pay for the maintenance of the system.
0:43:20 > 0:43:26The other two boards we put public service announcements.
0:43:26 > 0:43:29At present we're in Lesotho, Swaziland, Mozambique, Zambia.
0:43:29 > 0:43:32We're about to enter into Malawi
0:43:32 > 0:43:35and then we've got another five countries to go to.
0:43:35 > 0:43:39The need in those countries is far, far greater
0:43:39 > 0:43:41than it is in South Africa.
0:43:41 > 0:43:45The play pump is an African solution to an African problem.
0:43:45 > 0:43:48That's what it is.
0:43:59 > 0:44:01The Western Harbour in Malmo, Sweden,
0:44:01 > 0:44:07is home to two landmark housing developments: Bo01 and Bo02.
0:44:07 > 0:44:12With a focus on energy efficiency, sustainability and cutting-edge design,
0:44:12 > 0:44:15Western Harbour could be the City of Tomorrow.
0:44:17 > 0:44:21Bo01 area started out as a demonstration area
0:44:21 > 0:44:28where we wanted to show the best example of a sustainable city possible.
0:44:28 > 0:44:32And we received a lot of government money
0:44:32 > 0:44:35to make this possible.
0:44:36 > 0:44:39We tried to think, in the design team,
0:44:39 > 0:44:44what places in Europe that people would visit
0:44:44 > 0:44:48simply just to enjoy the city life, the urban spaces,
0:44:48 > 0:44:52and we came to the conclusion that it was mostly medieval cities.
0:44:52 > 0:44:56We have old villages in the UK,
0:44:56 > 0:44:59places like Venice or Siena,
0:44:59 > 0:45:01and what do they have in common?
0:45:01 > 0:45:05Narrow streets, small houses,
0:45:05 > 0:45:09and not knowing what's behind the corner.
0:45:11 > 0:45:16The architects were asked to try to use strong colours,
0:45:16 > 0:45:20different designs, to get a diversity.
0:45:20 > 0:45:24If you get good designs, you love living here
0:45:24 > 0:45:26and then you take care of it.
0:45:26 > 0:45:31So in order to get long-living and long-lasting houses
0:45:31 > 0:45:34you need really good architectural designs.
0:45:39 > 0:45:43The most important contribution to sustainability
0:45:43 > 0:45:46is the energy production system in the area
0:45:46 > 0:45:52because it's 100% renewable energy locally produced.
0:45:52 > 0:45:56So it's a zero carbon dioxide area
0:45:56 > 0:45:59which makes it quite sensational.
0:46:02 > 0:46:06There are parts of the Bo01 establishment that don't work
0:46:06 > 0:46:08as well as we'd have wanted.
0:46:08 > 0:46:12For instance, most of the houses are very expensive to buy.
0:46:12 > 0:46:17So it's mostly high income people who can afford to live here.
0:46:19 > 0:46:26When assessing the area, the energy usage is a lot higher than we expected it to be.
0:46:26 > 0:46:33The computer scenario predicting the energy usage was unrealistic.
0:46:33 > 0:46:38And the buildings weren't very thoroughly built
0:46:38 > 0:46:41so there were leakages in the facades.
0:46:46 > 0:46:51Bo02 was the next phase after the Bo01 project.
0:46:51 > 0:46:55Here, we were supposed to build affordable housing
0:46:55 > 0:46:57with high sustainability.
0:46:59 > 0:47:06The difference in the process was that we formed a very close collaboration group
0:47:06 > 0:47:09with all the developers involved
0:47:09 > 0:47:15from the very start so they took part in making the local plan
0:47:15 > 0:47:20and all the different features for sustainability were discussed
0:47:20 > 0:47:24and decided together with the developers.
0:47:26 > 0:47:31We did learn some lessons from the Bo01 area.
0:47:31 > 0:47:35For instance, we worked more with the social sustainability
0:47:35 > 0:47:39so we have playgrounds and meeting places.
0:47:42 > 0:47:46All the buildings here are being thermal photographed
0:47:46 > 0:47:49and also we test their airtightness
0:47:49 > 0:47:52when the construction work is finished
0:47:52 > 0:47:56in order to make the buildings more energy efficient.
0:47:57 > 0:48:00We didn't get any government money
0:48:00 > 0:48:06to obtain the sustainability in the Bo02 area.
0:48:06 > 0:48:10Here, everything is done on market conditions
0:48:10 > 0:48:14and whatever has been done here can be achieved anywhere else in Sweden.
0:48:14 > 0:48:18We don't need any extra money from anywhere to do it.
0:48:20 > 0:48:25There are plans to use the knowledge from the Western Harbour
0:48:25 > 0:48:29in other projects in Malmo and elsewhere in Sweden.
0:48:29 > 0:48:33It is a full-scale laboratory for sustainability.
0:48:33 > 0:48:36Of course the knowledge should be used elsewhere.
0:48:48 > 0:48:51I run a small team of multi-skilled researchers.
0:48:51 > 0:48:55We have psychologists, 3-D modellers, games designers.
0:48:55 > 0:48:58What we do is exploit the mainstream software
0:48:58 > 0:49:01that comes with games from the high street
0:49:01 > 0:49:06and add our own content to deliver serious training and education
0:49:06 > 0:49:09for defence, surgery and a variety of other applications.
0:49:12 > 0:49:15We share a lot of our technology with the outside world
0:49:15 > 0:49:18so we spin into the military from civilian games
0:49:18 > 0:49:22and we spin out to serious games in the civilian sector.
0:49:22 > 0:49:26For example, we exploit a lot of the mainstream games software
0:49:26 > 0:49:29that power a game like Half-Life 2, Far Cry 2, and what have you.
0:49:29 > 0:49:33But when we do work for the Royal Centre for Defence Medicine,
0:49:33 > 0:49:38we can spin that out into the National Health Service surgical training programmes.
0:49:40 > 0:49:44We've designed games to train the Royal Navy Dillon Minigun, a powerful Gatling gun,
0:49:44 > 0:49:48individuals who may be suffering post-traumatic stress,
0:49:48 > 0:49:52right down to allowing school children to fly a small submersible
0:49:52 > 0:49:55around wrecks off the south-west coast of the UK.
0:49:56 > 0:50:01The starting point for developing a serious game is to get the end-user involved.
0:50:01 > 0:50:05It's key for us to involve the end-user at all stages of the design.
0:50:05 > 0:50:09Otherwise, we could go away for months and come back with something useless.
0:50:09 > 0:50:13OK, guys, a quick introduction to Subsafe.
0:50:13 > 0:50:19'We spend time in the field, working with them, seeing what their training task needs.'
0:50:19 > 0:50:25Then we do a storyboard and convert that information into something we can program into the game's engines.
0:50:25 > 0:50:29I'll hand over to Chief McGowan now who'll set you a few tasks
0:50:29 > 0:50:32just for you to try the simulation software out.
0:50:32 > 0:50:37We talked about the HPS system this morning and servicing the submarines...
0:50:37 > 0:50:43Once we've done the initial work with the end-user, we sit down and construct the virtual world.
0:50:43 > 0:50:45Virtual objects and scenarios themselves.
0:50:45 > 0:50:49Then as we build the objects, we convert them into a form
0:50:49 > 0:50:54that's acceptable by the games engines - the powerful software that runs these things.
0:50:54 > 0:50:58It allows you to interface using a X-box controller, mouse or joystick.
0:51:00 > 0:51:03Once we've designed the game, we go back to the end user
0:51:03 > 0:51:08and carry out evaluation trials with them to make sure what we've delivered is fit for purpose.
0:51:08 > 0:51:11I'd like you to locate the emergency blow valve.
0:51:11 > 0:51:17The Subsafe project came about as a result of a concern within the Royal Navy
0:51:17 > 0:51:19for the training of future submariners.
0:51:19 > 0:51:22We needed a software program
0:51:22 > 0:51:26that would allow the students to practise finding the valves as they would on board.
0:51:26 > 0:51:31It has to be as close to the real thing as possible.
0:51:32 > 0:51:36Welcome to HMS Trafalgar, UK SSN.
0:51:36 > 0:51:38We're currently based in Devonport in Plymouth.
0:51:46 > 0:51:50First thing to learn is hatches and how to escape from the submarine.
0:51:50 > 0:51:55Second thing to learn about is where the fire-fighting equipment is.
0:52:00 > 0:52:03This is an escape scuttle. There's lots on board.
0:52:04 > 0:52:08The evaluation part of serious games design is crucial.
0:52:08 > 0:52:13Even if it's unsuccessful, that is a result for us so we don't waste any more money.
0:52:13 > 0:52:15If the evaluation is successful,
0:52:15 > 0:52:18we have to look outside of the university,
0:52:18 > 0:52:24outside the defence community for companies who will take the prototype we've developed
0:52:24 > 0:52:26and convert it into a real product.
0:52:26 > 0:52:29We have to educate the games company
0:52:29 > 0:52:32not to program things into their game because they can.
0:52:32 > 0:52:36Everything that goes into a serious game must have some significance
0:52:36 > 0:52:38to the training of the end-users.
0:52:38 > 0:52:41If they start putting in wild-type special effects,
0:52:41 > 0:52:45you'll distract the end-user and the training content won't be uptaken.
0:52:47 > 0:52:49We're in the forward escape at the front of the sub.
0:52:49 > 0:52:51Here we have the main vents.
0:52:51 > 0:52:54As you open the main vent, the air comes out the top,
0:52:54 > 0:52:57water comes in the bottom and you dive the submarine.
0:52:58 > 0:53:03I've been working in the virtual environments arena for over 25 years, now.
0:53:03 > 0:53:07It's great to look back 12 years ago when the things my team were doing
0:53:07 > 0:53:11would have cost at least £250,000 for a graphic super-computer.
0:53:11 > 0:53:14Today, we're doing things on laptops that cost £400.
0:53:14 > 0:53:16The software is available free
0:53:16 > 0:53:19and it's very accessible to the end-users as well.
0:53:19 > 0:53:21It's been an absolute revolution
0:53:21 > 0:53:25in delivering serious games to those who can benefit most.
0:53:38 > 0:53:42Our projects in the main have been commercial projects.
0:53:42 > 0:53:45Hotels, offices, universities.
0:53:45 > 0:53:47This is our first school.
0:53:48 > 0:53:52Hazelwood School is for children from two to 19.
0:53:52 > 0:53:55All the children at this school have a sensory impairment.
0:53:55 > 0:53:59Some are blind, some are partially sighted.
0:53:59 > 0:54:02Some of our children have a hearing impairment as well.
0:54:04 > 0:54:07Before Hazelwood started, the children who now attend here
0:54:07 > 0:54:11were at two other schools in Glasgow.
0:54:11 > 0:54:13Both of the buildings were very old
0:54:13 > 0:54:16and in a state of disrepair.
0:54:16 > 0:54:21In one school, some of the rooms were upstairs which made it very difficult
0:54:21 > 0:54:26for our young people with physical difficulties to access areas of the school.
0:54:26 > 0:54:29THEY SING
0:54:33 > 0:54:36That was really good. Well done!
0:54:36 > 0:54:39I worked with the architects looking at the needs firstly
0:54:39 > 0:54:41of the children.
0:54:41 > 0:54:44So the architects visited both schools.
0:54:44 > 0:54:49They looked at how children and young people used the building.
0:54:49 > 0:54:51They looked at the needs of staff.
0:54:51 > 0:54:53They looked at our storage needs.
0:54:53 > 0:54:56And then we sat down together.
0:54:56 > 0:55:01We talked to a lot of other people. It was very much a group consultation.
0:55:01 > 0:55:05And we came up with the design of Hazelwood.
0:55:06 > 0:55:10There were a number of people involved. Clinicians and charities
0:55:10 > 0:55:13that didn't always have similar kinds of needs
0:55:13 > 0:55:16and had different attitudes about how you should design
0:55:16 > 0:55:20an environment such as this for children who are blind or deaf.
0:55:20 > 0:55:24We had to separate various sometimes contradictory opinions
0:55:24 > 0:55:26and take on board what was absolutely relevant.
0:55:26 > 0:55:31We had to stop at a particular time or we'd never have got the school designed.
0:55:34 > 0:55:37The brief is crucial in actually trying to understand
0:55:37 > 0:55:41what the clients' requirements are and crucial in producing a good design.
0:55:41 > 0:55:45All good architecture starts with a good brief.
0:55:45 > 0:55:48The children need an environment that's accessible.
0:55:48 > 0:55:52We need an area where they find their way around the building easily.
0:55:53 > 0:55:59We decided after having done a series of exercises about the size of the building and its width
0:55:59 > 0:56:04that the best way to minimise the impact and be sensitive to the site and the needs of the children
0:56:04 > 0:56:08was to make a building which sat very low into the site.
0:56:09 > 0:56:11Quite a few of the children are disabled
0:56:11 > 0:56:15and there should be accessibility to all parts of the school.
0:56:18 > 0:56:22The materials we chose because they have a tactile quality.
0:56:22 > 0:56:27They're nice to touch and the children can use them as an aid to find their way around.
0:56:28 > 0:56:32Some feel warm against their skin, some feel more cool.
0:56:32 > 0:56:37Even to the extent of using wood so there's a smell given off.
0:56:39 > 0:56:45The classrooms are all north-facing because we wanted to increase the ambient light coming in.
0:56:45 > 0:56:48For some of the children, direct sunlight is a problem.
0:56:49 > 0:56:53One of the things we did is go to a school in south Glasgow.
0:56:53 > 0:56:58We put on sight inhibitors which only gave us 5% sight.
0:56:58 > 0:57:02We tried to find our way round that school environment.
0:57:02 > 0:57:07We found out because of that process that colour can be really important.
0:57:08 > 0:57:13Colour used as a strong element against what is a neutral background
0:57:13 > 0:57:16could enable children with five or ten per cent sight
0:57:16 > 0:57:19to recognise that wall within its surroundings
0:57:19 > 0:57:21and use it as a visual clue.
0:57:23 > 0:57:27They have many more opportunities in terms of the curriculum.
0:57:27 > 0:57:30We have spaces for art, spaces for cooking,
0:57:30 > 0:57:32a hydrotherapy pool.
0:57:35 > 0:57:39Because the building is very easy to navigate around,
0:57:39 > 0:57:41the pupils are much more independent.
0:57:41 > 0:57:44Their mobility skills are much improved.
0:57:44 > 0:57:47That, for me, is the success of the building.
0:57:47 > 0:57:52They find it an interesting place to be and a comfortable place to be.
0:57:52 > 0:57:55They're not alienated by it. It's not institutional.
0:57:57 > 0:58:02I think this building has a very warm and welcoming ethos.
0:58:02 > 0:58:06I think that's partly due to the design. The minute you enter the building,
0:58:06 > 0:58:10you are aware of the fact there are children in this building,
0:58:10 > 0:58:15that it's a school and you're immediately welcomed and drawn to the building.
0:58:40 > 0:58:44Subtitles by Red Bee Media - 2009