LizDiller_玩建筑【中英文对照】

1.Aside from keeping the rain out and producing some usable space, architecture is nothing but a special-effects machine that delights and disturbs the senses.
除了遮风挡雪和提供一些可用的空间之外, 建筑只不过是一个 取悦和打搅人类感官的特效机器.
2.Our work is across media. The work comes in all shapes and sizes.
我们的职业是跨媒界的. 这个职业包含所有的外形和尺寸.
3.It’s small and large. This is a ashtray, a water glass.
它可小可大. 比如一个烟灰缸,一个茶杯.
4.From urban planning and master planning to theater and all sorts of stuff.
或从城市和总体规划到剧院 以及里面所有的东西.
5.The thing that all the work has in common is that it challenges the assumptions about conventions of space.
这些作品都有一个共同点, 就是挑战人们对空间的传统看法.
6.And these are everyday conventions, conventions that are so obvious that we are blinded by their familiarity.
这些是我们的习惯, 这些习惯太明显以至于我们忽略掉他们的相似性.
7.And I’ve assembled a sampling of work that all share a kind of productive nihilism that’s used in the service of creating a particular special effect.
我收集了一个设计的样品, 他们常用一种特定效果， 华丽的虚无主义.
8.And that is something like nothing, or something next to nothing.
就像什么也没有,或者几乎没有.
9.It’s done through a form of subtraction or obstruction or interference in a world that we naturally sleepwalk through.
在我们自然幻想的世界里, 我们在各种干扰或影响之下完成
10.This is an image that won us a competition for an exhibition pavilion for the Swiss Expo 2002 on Lake Neuchatel near Geneva.
这张照片是我们在瑞士纽沙特尔湖附近的日内瓦 举办的2002展会时 所获得的一个奖项.
11.And we wanted to use the water not only as a context but as a primary building material.
我们用水做的不仅仅是背景, 而是一种基本的建筑材料.
12.We wanted to make an architecture of atmosphere.
我们要建造一种大气建筑.
13.So, no walls, no roof, no purpose — just a mass of atomized water, a big cloud.
所以, 没有墙壁, 没有房顶, 没有用途 — 只是一片雾化的水气, 一大片云朵.
14.And this proposal was a reaction to the over-saturation of emergent technologies in recent national and world expositions, which feeds, or has been feeding, our insatiable appetite
这个建议有着过渡饱和的反应. 在全世界最新应急技术博览会上, 我们贪得无厌的寻找能源和释放能源
15.for visual stimulation with an ever greater digital virtuosity.
为了完成一次更宏伟的视觉盛宴.
16.High definition, in our opinion, has become the new orthodoxy.
主观条件下高清晰度已经成为主流.
17.And we ask the question, can we use technology, high technology, in to — to make an expo pavilion that’s decidedly low definition,
我们提出质询,我们可以用技术，高端技术. 使博览馆有着果断的定义,
18.that also challenges the conventions of space and skin, and rethinks our dependence on vision?
挑战条约中的空间和外观. 让我们从新思考是否完全依赖视于觉感官.
19.So this is how we sought to do it.
这就是我们力争去做的事情.
20.Water’s pumped from the lake and is filtered and shot as a fine mist through an array of high-pressure fog nozzles, 35,000 of them. And a weather station is on the structure.
水从湖中过滤出来 通过高压喷雾嘴形成细雾喷射， 由35000人组建成的气象站.
21.It reads the shifting conditions of temperature, humidity, wind direction, wind speed, dew point, and it processes this data in a central computer
它将读取温度,湿度, 风向,风速,霜的变化, 中央处理器会处理数据
22.that calibrates the degree of water pressure and distribution of water throughout.
通过计时器测量水压力的程度 在水底是如何分布的.
23.And it’s a responsive system that’s trained on actual weather.
此系统受过气象变化训练.
24.So, this is just in construction, and there’s a tensegrity structure.
因此,这并不是仅仅是建筑,而是一个整体构造.
25.It’s about 300 feet wide, the size of a football field, and it sits on just four very delicate columns.
这块场地有300英尺, 它坐落在四列塔器之间.
26.These are the fog nozzles, the interface, and basically the system is kind of reading the real weather, and producing kind of semi-artificial and real weather.
这些都是喷雾管接口, 系统像电子书一样展示气象变化. 天气的变换就像半自动化生产.
27.So, we’re very interested in creating weather. I don’t know why.
不知道为什么.我们对天气产生很大的兴趣.
28.Now, here we go, one side, the outside and then from the inside of the space you can see what the quality of the space was.
现在,让我们向外界展示内在的一面 然后从内部空间 你可以鉴赏到外部空间的变换.
29.Unlike entering any normal space, entering Blur is like stepping into a habitable medium.
不同于正常的空间, 进入雾气空间就像跨入一个可以居住的地方.
30.It’s formless, featureless, depthless, scaleless, massless, purposeless and dimensionless.
它是无形的,无特点的 ,深不可测的,无外表 ,无重量. 无目的,无量纲的(物理量).
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31.All references are erased, leaving only an optical whiteout and white noise of the pulsing nozzles.
除去所有的轮廓, 只剩下一个光气象和白噪声的脉动喷嘴.
32.So, this is an exhibition pavilion where there is absolutely nothing to see and nothing to do.
这就像是一个展览馆 在那里你绝对看不到也做不了任何事.
33.And we pride ourselves — it’s a spectacular anti-spectacle in which all the conventions of spectacle are turned on their head.
并且我们非常自豪–这是另一个世界 所有的景象将吸引人们的眼球.
34.So, the audience is dispersed, focused attention and dramatic build-up and climax are all replaced by a kind of attenuated attention
因此,分散的注意力, 将重点关注雾气空间的建设， 所有减少的注意力被放回原位
35.that’s sustained by a sense of apprehension caused by the fog.
是因为一个持续的大雾造成的恐惧感.
36.And this is very much how like with the Victorian novel used fog in this way.
这就是维多利亚时期小说里运用雾的方式.
37.So here the world is put out of focus, while our visual dependence is put into focus.
这将成为世界的焦点, 世人关注的是视觉效果.
38.The public, you know, once disoriented can actually ascend to the angel deck above and then just come down under those lips into the water bar.
如你所知，大家总是迷失方向 但实际上在桥面上看 水是从桥下过滤出来。
39.So, all the waters of the world are served there, so we thought that, you know, after being at the water and moving through the water and breathing the water,
因此，水填充着整个世界， 人们认为在水雾中 我们可以在这里行走，呼吸
40.you could also drink this building.
你也可以喝掉这个建筑.
41.And so it is sort of a theme, but it goes a little bit, you know, deeper than that.
这就是一个水簇馆, 但是我们应该深入的了解.
42.We really wanted to bring out our absolute dependence on this master sense, and maybe share our kind of sensibility with our other senses.
我们真正想要什么 而且是完全依赖于主观感官, 用感官触碰敏感底线.
43.You know, when we did this project it was a kind of tough sell, because the Swiss said, “Well, why are we going to spend, you know,
我们做这个项目是相当不容易的, 因为瑞士人说：“为什么我们要
44.10 million dollars producing an effect that we already have in natural abundance that we hate?”
用1000万美元 来制造一种我们讨厌的到处都是自然现象?
45.And, you know, we thought — well, we tried to convince them.
我们努力的想答案–并试图说服他们.
46.And in the end, you know, they adapted this as a national icon that came to represent Swiss doubt, which we — you know, it was kind of a meaning machine
最终,你知道,这将成为一个国家的标志. 我们代表瑞士质疑，你知道， 它是有着不同理念的机器
47.that everybody kind of laid on their own meanings off of.
每个人都有自己的见解
48.Anyway, it’s a temporary structure that was ultimately destroyed, and so it’s now a memory of an apparition, actually, but it continues to live in edible form.
总之，它只是一个最终将被销毁的结构， 并且，虽然它现在只是一个特异的景象， 但它仍然有实用价值.
49.And this is the highest honor to be bestowed upon an architect in Switzerland — to have a chocolate bar.
这是授予我们的最高荣誉 颁予瑞士建筑师–一个巧克力.
50.Anyway, moving along.
无论如何,我们一直努力去做.
51.So in the ’80s and ’90s, we were mostly known for independent work, such as installation artist, architect, commissioned projects by museums and non-for-profit organizations.
八,九十年代我们都知道要独立工作, 如安装师,艺术家,建筑师, 博物馆以及福利机构，
52.And we did a lot of media work, also a lot of experimental theater projects.
我们做了大量媒体工作， 也做了很多戏剧项目实验.
53.In 2003, the Whitney mounted a retrospective of our work that featured a lot of this work from the ’80s and ’90s.
2003 年，在惠特尼回顾我们的工作 这个项目有许多来自80,90年代的人.
54.However, the work itself resisted the very nature of a retrospective, and this is just some of the stuff that was in the show.
然而,回顾的本质并不是评论工作的本身. 这些是展示的一部分.
55.This was a piece on tourism in the United States.
现在,这也是美国旅游业的一个部分.
56.This is “Soft Sell” for 42nd Street, this was something done at the Cartier Foundation.
这是第四十二街的”软推销” 这是由卡地亚基金会完成的”主人与奴隶”.
57.”Master/Slave” at the MOMA, the project series, a piece called “Parasite.”
现在存放于纽约现代艺术博物馆里的项目系列中,一块叫”寄生虫”的地方.
58.And so there were many, many of these kinds of projects.
并且,那里非常多的这类的项目.
59.Anyway, they gave us the whole fourth floor, and, you know, the problem of the retrospective was something we were very — we were very uncomfortable with.
不论以何种方式,他们提供了整个第四层的展示. 但你知道 回顾的问题是在于, 我们并不是很喜欢.
60.It’s a kind of invention of the museum that’s supposed to bring a kind of cohesive understanding to the public of a body of work.
这有点像博物馆的发明， 理论上把你的工作以一种通俗易懂的形式 展现给大众.
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61.And our work doesn’t really resolve itself into a body in any way at all.
我们的工作没有真正的达到这个目的.
62.And one of the recurring themes that, by the way, in the work was a kind of hostility toward the museum itself.
重现这个主题, 实际上 在工作中有点与博物馆的抵制意识.
63.And asking about the conventions of the museum, like the wall, the white wall.
征询博物馆的惯例时,比如墙壁需要是白色的.
64.So, what you see here is basically a plan of many installations that were put there.
所以, 你在这张图上看到的 是我们很多设备的安装计划.
65.And we actually had to install white walls to separate these pieces, which didn’t belong together.
我们其实需要安装在白墙上 区分开这些不同的部分.
66.But these white walls became a kind of target and weapon at the same time.
但这些白墙就变成了一种武器和目标.
67.We used the wall to partition the 13 installations of the project and produce a kind of acoustic and visual separation.
我们把这个项目分成13块装备 并且将声音和视觉相分离.
68.And what you see is — actually, the red dotted line shows the track of this performing element, which was a new piece that created — that we created for the —
你可以看到, 实际上, 红色虚线表示这些表现元素的状态, 创建了一个新的块.
69.which was a robotic drill, basically, that went all the way around, cruised the museum, went all around the walls and did a lot of damage.
我们用一个四处游动的机器人钻头 在博物馆的墙上到处流动,搞了不少破坏.
70.So, the drill was mounted on this robotic arm.
这个钻头是挂载到一个机器人手臂上的.
71.We worked with, by the way, Honeybee Robotics. This is the brain.
我们用的是蜜蜂机器人(Honeybee Robotics),这是大脑.
72.Honeybee Robotics designed the Mars Driller, and it was really very much fun to work with them.
蜜蜂机器人的设计者是Mars Driller. 跟它们工作真的是很有趣.
73.They weren’t doing their primary work, which was for the government, while they were helping us with this.
它们没有做它们首要的工作, 在帮助我们的时候它们停止政府给它们的工作.
74.In any case, the way it works is that an intelligent navigator basically maps the entire surface of these walls.
在任何情况下, 它应该是基于智能导航地图 定位墙面的位置.
75.So, unfolded it’s about 300 linear feet.
所以, 完全打开要300尺高.
76.And it randomly generates points within a three-dimensional matrix.
并且它会随机产生3维模型
77.It selects a point, it guides the drill to that point, it pierces the dry wall, leaving a half-inch hole before traveling to the next location.
利用定位点将钻头定位准确,然后打孔. 完成一个半寸的孔后开始新一轮的打孔.
78.Initially these holes were lone blemishes, and as the exhibition continued the walls became increasingly perforated.
最初这些孔只是白墙上寂寞的缺陷 但随着展览进行 墙上的孔不断的增加.
79.So eventually holes on both sides of the wall aligned, opening views from gallery to gallery.
墙的两面的孔连接起来. 画廊到画廊的开放视角.
80.Clusters of holes randomly opened up sections of wall.
这些孔随机的打开了部分的墙壁.
81.And so this was a three-month performance piece in which the wall was made into kind of an increasingly unstable element.
这是三个月的成果 把这面墙搞的越来越不稳定.
82.And also the acoustic separation was destroyed.
听觉部分已经被破坏了.
83.Also the visual separation.
视觉部分也差不多.
84.And there was also this constant background groan, which was very annoying.
并且还会有不断的杂音,非常烦人.
85.And this is one of the blackout spaces where there’s a video piece that became totally not useful.
这是一块灰暗的空间 视频块已经完全没用.
86.So rather than securing a neutral background for the artworks on display, the wall now actively competed for attention.
将一个中性背景当作艺术品 这面墙的积极争取到很多眼球.
87.And this acoustical nuisance and visual nuisance basically exposed the discomfort of the work to this encompassing nature of the retrospective.
并且这种声学和视觉厌恶 基本上暴露了工作的不适 包括对自然的回顾.
88.It was really great when it started to break up all of the curatorial text.
它开始打破馆长的预言. 它真的很棒.
89.Moving along to a project that we finished about a year ago.
再来看看我们一年之前完成的一个项目.
90.It’s the ICA in — the Institute of Contemporary Art — in Boston, which is on the waterfront.
这是在波士顿的当代艺术研究所, 就在江边.
91.And there’s not enough time to really introduce the building, but I’ll simply say that the building negotiates between this outwardly focused nature of the site —
我们没有太多时间来介绍这个建筑, 但我要说这栋建筑 外表上看着重于自然
92.you know, it’s a really great waterfront site in Boston — and this contradictory other desire to have an inwardly focused museum.
这是波士顿一处非常好的临江之地. 矛盾的是它内在却着重于博物馆.
93.So, the nature of the building is that it looks at looking — I mean that’s its primary objective.
所以, 建筑的自然特性是长相如何– 我是指基本目标.
94.Both its program and its architectural conceit.
项目和建筑特点都是.
95.It — the building incorporates the site, but it dispenses it in very small doses in the way that the museum is choreographed.
这个建筑融入了周围的环境. 但它分解出很多很小的细节， 细节到博物馆的舞蹈编排上.
96.So, you come in and you’re basically squeezed by the theater, by the belly of the theater, into this very compressed space where the view is turned off.
所以,你走进去就基本被挤到剧院里了, 在剧院的后半部分,紧缩的空间里. 视觉被关闭了.
97.Then you come up in this glass elevator right near the curtain wall.
你走进窗帘附近的玻璃电梯里.
98.This is — this elevator’s about the size of a New York City studio apartment.
这个电梯有纽约城市的演播间那么大.
99.And then, this is a view going up, and then you could come into the theater, which can actually deny the view or open it up and become a backdrop.
然后,视觉开始不断上升. 接着你进入剧院, 这个剧院可以开辟或拒绝这些视角,并变为一个背景.
100.And many musicians choose to use the theater glass walls totally open.
很多音乐家选择把这个剧院的玻璃幕墙全部打开.
101.The view is denied in the galleries where we just receive just natural light, and then exposed again in the north gallery with a panoramic view.
景色落在剧院里 我们看到的自然光线 然后转换成北面的全景图.
102.The original intention of this space, which was unfortunately never realized, was to use lenticular glass which allowed only a kind of perpendicular view out.
这个空间的原意, 很遗憾从来没有实现过. 最初设计是用透镜 仅允许一些垂直的视角.
103.In this very narrow space that connects east and west galleries the intention was really to not get a climax, but to have the view stalk you,
在非常狭窄的空间里将东部和西部的走廊连接进来 意图真的不是把高潮连接起来. 而是让视觉跟着你走.
104.so the view would open up as you walked from one end to the other.
所以视角会随着你的移动而不断改变.
105.This was eliminated because the view was too good, and the mayor said, “No, we just want this open.”
因为视角太好 而且市长说:”不, 我们只要它打开就好了.”
106.The architect lost here.
设计师在这里迷惑了.
107.But culminating — and that’s where this hooks into the theme of my little talk, is this Mediatheque, which is suspended from the cantilevered portion of the building.
但最高点 — 这也是我把它放在演讲里的原因. 就是Mediatheque, 就挂在大厦的悬臂部分.
108.So this is an 80-foot cantilever — it’s quite substantial.
这是个80英尺长的悬臂 — 它相当牢固.
109.So, it’s already sticking out into space enough, and then from that is this, is this small area called the Mediatheque.
它已经突出了足够大一部分空间了, 突出的这一小部分空间叫做Mediatheque.
110.The Mediatheque has something like 16 stations where the public can get onto the server and look at digital artworks or also curated artworks off the web.
Mediatheque 有一些东西像16号站 公众可以登录到服务器上 查看数字艺术或策划美术作品.
111.And this was really a kind of very important part of this building, and here is a point where architecture — this is like technology-free, architecture is only a framing device,
这是整个建筑非常重要的一部分, 这是建筑学上的一点 — 这像是不受科技所局限,建筑学仅仅是个框架,
112.it only edits the harbor view, the industrial harbor just through its walls, its floors and its ceiling, to only expose the water itself, the texture of water,
它仅能编辑港口视角, 通过墙壁,地板和天花板看到的工业港 露出的水平和水纹.
113.much like a hypnotic effect created by electronic snow or a lava lamp or something like that.
很像催眠效果创造的电子雪景 或是岩浆灯之类的东西.
114.And here is where we really felt that there was a great convergence of the technological and the natural in the project.
这里我们真的感到了,这是一个伟大的技术合成 也是大自然的工程.
115.But there is just no information, it’s just — it’s just hypnosis.
但那里没有信息, 它只是 — 它只是催眠状态
116.Moving along to Lincoln Center.
我们接着看林肯中心(Lincoln Center),
117.These are the guys that did the project in the first place, 50 years ago.
这是完成这个工程的第一批工程师, 五十年前.
118.We’re taking over now, doing work that ranges in scale from small-scale repairs to major renovations and major facility expansions.
我们正在接管, 从一些小维护到大整修以及设备的扩容.
119.But we’re doing it with a lot less testosterone.
但我们做的不是很有激情.
120.This is the extent of the work that’s to be completed by 2010.
这是将在2010年完成的扩展工作.
121.And for the purposes of this talk, I wanted to isolate just a part of a project that’s even a part of a project that touches a little bit on this theme of architectural special effects,
这次演讲的目的, 我希望单独讲讲一个项目的一部分. 甚至这部分附带一点建筑特效的主题,
122.and it happens to be our current obsession, and it plays a little bit with the purging and adding of distraction.
并且它是我们现存的困扰, 分散了注意力.
123.It’s Alice Tully Hall, and it’s tucked under the Juilliard Building and descends several levels under the street.
这是Alice Tully大会堂, 就在茱莉亚大厦下面 并且在街道下面有几层.
124.So, this is the entrance to Tully Hall as it used to be, before the renovation, which we just started.
这里, 是大会堂在整修之前的入口, 我们刚开始整修.
125.And we asked ourselves, why couldn’t it be exhibitionistic, like the Met, or like some of the other buildings at Lincoln Center?
我们会问自己,为什么不让它更拉风一点呢? 像里兹大厦(the Met) 或者其它位于林肯中心的大厦?
126.And one of the things that we were asked to do was give it a street identity, expand the lobbies and make it visually accessible.
我们被要求的一件事是 作为街道的标志性建筑,扩展大堂并让它在视觉上很拉风.
127.And this building, which is just naturally hermetic, we stripped.
并且这座大厦, 是天然密封的.
128.We basically did a striptease, architectural striptease, where we’re framing with this kind of canopy, the underside of three levels of expansion of Juilliard,
我们基本上搞了个脱衣舞, 建筑学脱衣舞, 在这个被顶篷罩住的空间 背面是被茱莉亚大厦扩展出来的三个台阶,
129.about 45,000 square feet, cutting it to the angle of Broadway, and then exposing, using that canopy to frame Tully Hall.
大概有45,000平方英尺,与百老汇大街成一定弧度, 然后用Tully大会堂的顶篷.
130.Before and after shot.
术前和术后对比照片.
131.Wait a minute, it’s just in that state, we have a long way to go.
等一分钟,这只是个说明, 我们还有很多东西没说呢.
132.But what I wanted to do was take a couple of seconds that I have left to just talk about the hall itself, which is kind of where we’re really doing a massive amount of work.
但我想做的是花几秒钟时间去 谈谈大会堂本身, 我们真在它上面花了大量的心血.
133.So, the hall is a multi-purpose hall.
这个大会堂是个多功能大厅.
134.The clients have asked us to produce a great chamber music hall.
客户要求我们设计一个顶级的室内音乐厅.
135.Now, that’s really tough to do with a hall that has 1,100 seats.
现在, 设计一个容纳1100座位的大厅是非常不容易的.
136.Chamber and the notion of chamber has to do with salons and small-scale performances. They asked us to bring an intimacy.
会所,沙龙和小规模的表演等概念一起. 他们要求我们把各部分都亲密接触起来.
137.How do you bring an intimacy into a hall?
你如何让大会堂整体上亲密接触?
138.Intimacy for us means a lot of different things.
亲密接触对我们意味着各种不同的东西.
139.It means acoustic intimacy and it means visual intimacy.
它意味着声觉上和视觉上的亲密接触.
140.One thing is that the subway is running and rumbling right under the hall.
一是地铁经常从大厅下面轰隆隆而过.
141.Another thing that could be fixed is the shape of the hall.
还有就是我们要改变大厅的形状.
142.It’s like a coffin, it basically sends all the sound, like a gutter-ball effect, down the aisles.
它像一个棺材, 基本发送各种声音, 像一个球掉进沟里的效果.
143.The walls are made of absorptive surface, half absorptive, half reflective, which is not very good for concert sound.
墙壁的表面是吸收材料, 半吸收半反射型, 对于音乐会的声音,效果不会太好.
144.This is Avery Fisher Hall, but the notion of junk, visual junk was very, very important to us, to get rid of visual noise.
这是Avery Fisher音乐厅,但垃圾概念,视觉垃圾 对我们非常非常重要, 摆脱掉视觉杂物.
145.Because we can’t eliminate a single seat, the architecture is restricted to 18 inches.
因为我们不能拆掉座位, 建筑被限定为18英寸.
146.So it’s a very, very thin architecture.
所以它是非常非常薄的建筑.
147.First we do a kind of partial box and box separation, to take away the distraction of the subway noise.
首先我们一个盒子一个盒子的分开, 用于消除地铁的噪音.
148.Next we wrap the entire hall — almost like this Olivetti keyboard — with a material, with a wood material that basically covers all the surfaces:
然后将整个大厅包起来 — 像极了Olivetti 键盘 — 带一些材料,木质材料 基本覆盖所有的墙面:
149.wall, ceiling, floor, stage, steps, everything, boxes.
脑子基本不转, 请检查之前翻译质量.
150.But it’s acoustically engineered to focus the sound into the house and back to the stage. And here’s an acoustic shelf.
但是声学工程会关注房屋里的声音 以及返回舞台的声音,并且这是一个音响架.
151.Looking up the hall. Just a section of the stage.
看大厅的上方.只是舞台的一部分.
152.Just everything is lined, it incorporates — every single thing that you could possibly imagine is tucked into this high-performance skin.
只是把所有东西对齐,它包括 — 你能想像到的任何一样东西 都可以塞进高性能的外壳中.
153.But one more added feature.
但还有一个功能.
154.So now that we’ve stripped the hall of all visual distraction, everything that prevents this intimacy which is supposed to connect the house, the audience,
所以我们解除了大会堂所有的视觉分散点, 任何影响”亲密接触”的东西, 我们要把建筑,观众和表演者们连接起来,
155.with the performers, we add one little detail, one piece of architectural excess, a special effect: lighting.
亲密接触, 建筑学的一种特效: 灯光.
156.We very strongly believe that the theatrics of a concert hall is as much in the space of intermission and the space of arrival as it is when the concert starts.
我们坚信,音乐厅的戏剧表演艺术 跟中场休息时 以及和音乐会开场时一样.
157.So what we wanted to do was produce these — this effect, this lighting effect, which made us have to bioengineer the wood walls.
所以我们希望制造这些 — 这种效果, 灯光效果, 我们有生物工程的木墙.
158.And what it entails is the use of resin, of this very thick resin with a veneer of the same kind of wood that’s used throughout the hall,
我们需要用到树脂,非常厚的树脂 这些树脂外表像木头一样用于整个大会厅,
159.in a kind of seamless continuity that wraps the hall in light, like a belt of light, rather than separating, like a proscenium would separate the audience from performers,
无缝的连接在一起 把大厅包转在光线上,像皮带一样的光线,而不是分开的, 像一个舞台区分观众和演员
160.it connects audience with players.
它连接着听众和演奏者.
161.And this is a mockup that is in Salt Lake City that gives you a sense of what this is going to look like in full-scale.
这是一个盐湖城的模型 给你一个整个规模的概念.
162.And this is a guy from Salt Lake City, this is what they look like out there.
这是一个来自盐湖城的男孩, 这是他们从外面看起来的样子.
163.(Laughter) And for us, I mean it’s really kind of a very strange thing, but the moments in the hall that the buzz kind of dies down
(笑声) 对于我们,我认为这确实是怪异的东西, 可是在音乐厅听到嗡嗡声杂音变弱的时刻
164.when the audience is waiting for the performance to begin, very similar to the parting of curtains or the raising of a chandelier, the walls will just exude this glow, temporarily stealing attention from the stage.
当观众们坐好期待着表演开始的时刻, 感觉特别像幕布掀开或烛台升起的时刻, 这面墙开始激情四溢的获取台下所有观众的注意力.
165.And this is Tully in construction now.
这就是现在Tully的建筑.
166.I have no ending to say, except that I’m a couple of minutes over.
由于我超时了,这就是我的结尾.
167.Thank you very much.
非常感谢.