Liz Diller: Architecture is a special effects machine

翻译人员: Xiaoyu Zhang 校对人员: Chunlei Chang

Aside from keeping the rain out and producing some usable space,

除了遮风挡雪和提供一些可用的空间之外,

architecture is nothing but a special-effects machine

建筑只不过是一个

that delights and disturbs the senses.

取悦和打搅人类感官的特效机器.

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.

It's small and large. This is an ashtray, a water glass.

它可小可大. 比如一个烟灰缸,一个茶杯.

From urban planning and master planning

或从城市和总体规划到剧院

to theater and all sorts of stuff.

以及里面所有的东西.

The thing that all the work has in common

这些作品都有一个共同点,

is that it challenges the assumptions about conventions of space.

就是挑战人们对空间的传统看法.

And these are everyday conventions,

这些是我们的习惯,

conventions that are so obvious that we are blinded by their familiarity.

这些习惯太明显以至于我们忽略掉他们的相似性.

And I've assembled a sampling of work

我收集了一个设计的样品,

that all share a kind of productive nihilism

他们常用一种特定效果，

that's used in the service of creating a particular special effect.

华丽的虚无主义.

And that is something like nothing, or something next to nothing.

就像什么也没有,或者几乎没有.

It's done through a form of subtraction or obstruction or interference

在我们自然幻想的世界里,

in a world that we naturally sleepwalk through.

我们在各种干扰或影响之下完成

This is an image that won us a competition

这张照片是我们在瑞士纽沙特尔湖附近的日内瓦

for an exhibition pavilion for the Swiss Expo 2002

举办的2002展会时

on Lake Neuchatel, near Geneva.

所获得的一个奖项.

And we wanted to use the water not only as a context,

我们用水做的不仅仅是背景,

but as a primary building material.

而是一种基本的建筑材料.

We wanted to make an architecture of atmosphere.

我们要建造一种大气建筑.

So, no walls, no roof, no purpose --

所以, 没有墙壁, 没有房顶, 没有用途 --

just a mass of atomized water, a big cloud.

只是一片雾化的水气, 一大片云朵.

And this proposal was a reaction to the over-saturation

这个建议有着过渡饱和的反应.

of emergent technologies in recent national and world expositions,

在全世界最新应急技术博览会上,

which feeds, or has been feeding, our insatiable appetite

我们贪得无厌的寻找能源和释放能源

for visual stimulation with an ever greater digital virtuosity.

为了完成一次更宏伟的视觉盛宴.

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.

And we ask the question, can we use technology, high technology,

我们提出质询,我们可以用技术，高端技术.

to make an expo pavilion that's decidedly low definition,

使博览馆有着果断的定义,

that also challenges the conventions of space and skin,

挑战条约中的空间和外观.

and rethinks our dependence on vision?

让我们从新思考是否完全依赖视于觉感官.

So this is how we sought to do it.

这就是我们力争去做的事情.

Water's pumped from the lake and is filtered

水从湖中过滤出来

and shot as a fine mist through an array of high-pressure fog nozzles,

通过高压喷雾嘴形成细雾喷射，

35,000 of them. And a weather station is on the structure.

由35000人组建成的气象站.

It reads the shifting conditions of temperature, humidity,

它将读取温度,湿度,

wind direction, wind speed, dew point,

风向,风速,霜的变化,

and it processes this data in a central computer

中央处理器会处理数据

that calibrates the degree of water pressure

通过计时器测量水压力的程度

and distribution of water throughout.

在水底是如何分布的.

And it's a responsive system that's trained on actual weather.

此系统受过气象变化训练.

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.

It's about 300 feet wide, the size of a football field,

这块场地有300英尺,

and it sits on just four very delicate columns.

它坐落在四列塔器之间.

These are the fog nozzles, the interface,

这些都是喷雾管接口,

and basically the system is kind of reading the real weather,

系统像电子书一样展示气象变化.

and producing kind of semi-artificial and real weather.

天气的变换就像半自动化生产.

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.

Now, here we go, one side, the outside

现在,让我们向外界展示内在的一面

and then from the inside of the space

然后从内部空间

you can see what the quality of the space was.

你可以鉴赏到外部空间的变换.

Unlike entering any normal space,

不同于正常的空间,

entering Blur is like stepping into a habitable medium.

进入雾气空间就像跨入一个可以居住的地方.

It's formless, featureless, depthless, scaleless, massless,

它是无形的,无特点的 ,深不可测的,无外表 ,无重量.

purposeless and dimensionless.

无目的,无量纲的(物理量).

All references are erased,

除去所有的轮廓,

leaving only an optical whiteout and white noise of the pulsing nozzles.

只剩下一个光气象和白噪声的脉动喷嘴.

So, this is an exhibition pavilion

这就像是一个展览馆

where there is absolutely nothing to see and nothing to do.

在那里你绝对看不到也做不了任何事.

And we pride ourselves -- it's a spectacular anti-spectacle

并且我们非常自豪--这是另一个世界

in which all the conventions of spectacle are turned on their head.

所有的景象将吸引人们的眼球.

So, the audience is dispersed,

因此,分散的注意力,

focused attention and dramatic build-up and climax

将重点关注雾气空间的建设，

are all replaced by a kind of attenuated attention

所有减少的注意力被放回原位

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.

And this is very much like how 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.

So here the world is put out of focus,

这将成为世界的焦点,

while our visual dependence is put into focus.

世人关注的是视觉效果.

The public, you know, once disoriented

如你所知，大家总是迷失方向

can actually ascend to the angel deck above

但实际上在桥面上看

and then just come down under those lips into the water bar.

水是从桥下过滤出来。

So, all the waters of the world are served there,

因此，水填充着整个世界，

so we thought that, you know, after being at the water

人们认为在水雾中

and moving through the water and breathing the water,

我们可以在这里行走，呼吸

you could also drink this building.

你也可以喝掉这个建筑.

And so it is sort of a theme,

这就是一个水簇馆,

but it goes a little bit, you know, deeper than that.

但是我们应该深入的了解.

We really wanted to bring out

我们真正想要什么

our absolute dependence on this master sense,

而且是完全依赖于主观感官,

and maybe share our kind of sensibility with our other senses.

用感官触碰敏感底线.

You know, when we did this project it was a kind of tough sell,

我们做这个项目是相当不容易的,

because the Swiss said, "Well, why are we going to spend, you know,

因为瑞士人说：“为什么我们要

10 million dollars producing an effect

用1000万美元

that we already have in natural abundance that we hate?"

来制造一种我们讨厌的到处都是自然现象?

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.

And in the end, you know, they adapted this as a national icon

最终,你知道,这将成为一个国家的标志.

that came to represent Swiss doubt, which we -- you know,

我们代表瑞士质疑，你知道，

it was kind of a meaning machine

它是有着不同理念的机器

that everybody kind of laid on their own meanings off of.

每个人都有自己的见解

Anyway, it's a temporary structure that was ultimately destroyed,

总之，它只是一个最终将被销毁的结构，

and so it's now a memory of an apparition, actually,

并且，虽然它现在只是一个特异的景象，

but it continues to live in edible form.

但它仍然有实用价值.

And this is the highest honor

这是授予我们的最高荣誉

to be bestowed upon an architect in Switzerland -- to have a chocolate bar.

颁予瑞士建筑师--一个巧克力.

Anyway, moving along.

无论如何,我们一直努力去做.

So in the '80s and '90s, we were mostly known for independent work,

八,九十年代我们都知道要独立工作,

such as installation artist, architect,

如安装师,艺术家,建筑师,

commissioned projects by museums and non-for-profit organizations.

博物馆以及福利机构，

And we did a lot of media work,

我们做了大量媒体工作，

also a lot of experimental theater projects.

也做了很多戏剧项目实验.

In 2003, the Whitney mounted a retrospective of our work

2003 年，在惠特尼回顾我们的工作

that featured a lot of this work from the '80s and '90s.

这个项目有许多来自80,90年代的人.

However, the work itself resisted the very nature of a retrospective,

然而,回顾的本质并不是评论工作的本身.

and this is just some of the stuff that was in the show.

这些是展示的一部分.

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.

This is "Soft Sell" for 42nd Street.

这是第四十二街的"软推销"

This was something done at the Cartier Foundation.

这是由卡地亚基金会完成的"主人与奴隶".

"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.

And so there were many, many of these kinds of projects.

并且,那里非常多的这类的项目.

Anyway, they gave us the whole fourth floor, and, you know,

不论以何种方式,他们提供了整个第四层的展示.

the problem of the retrospective

但你知道

was something we were very uncomfortable with.

回顾的问题是在于, 我们并不是很喜欢.

It's a kind of invention of the museum

这有点像博物馆的发明，

that's supposed to bring a kind of cohesive understanding

理论上把你的工作以一种通俗易懂的形式

to the public of a body of work.

展现给大众.

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.

And one of the recurring themes, by the way, that in the work

重现这个主题, 实际上

was a kind of hostility toward the museum itself,

在工作中有点与博物馆的抵制意识.

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.

So, what you see here

所以, 你在这张图上看到的

is basically a plan of many installations that were put there.

是我们很多设备的安装计划.

And we actually had to install white walls

我们其实需要安装在白墙上

to separate these pieces, which didn't belong together.

区分开这些不同的部分.

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.

We used the wall to partition the 13 installations of the project

我们把这个项目分成13块装备

and produce a kind of acoustic and visual separation.

并且将声音和视觉相分离.

And what you see is -- actually,

你可以看到, 实际上,

the red dotted line shows the track of this performing element,

红色虚线表示这些表现元素的状态,

which was a new piece that created -- that we created for the --

创建了一个新的块.

which was a robotic drill, basically, that went all the way around,

我们用一个四处游动的机器人钻头

cruised the museum, went all around the walls and did a lot of damage.

在博物馆的墙上到处流动,搞了不少破坏.

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.

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.

Honeybee Robotics designed the Mars Driller,

蜜蜂机器人的设计者是Mars Driller.

and it was really very much fun to work with them.

跟它们工作真的是很有趣.

They weren't doing their primary work, which was for the government,

它们没有做它们首要的工作,

while they were helping us with this.

在帮助我们的时候它们停止政府给它们的工作.

In any case, the way it works is that

在任何情况下, 它应该是基于智能导航地图

an intelligent navigator basically maps the entire surface of these walls.

定位墙面的位置.

So, unfolded it's about 300 linear feet.

所以, 完全打开要300尺高.

And it randomly generates points within a three-dimensional matrix.

并且它会随机产生3维模型

It selects a point, it guides the drill to that point, it pierces the dry wall,

利用定位点将钻头定位准确,然后打孔.

leaving a half-inch hole before traveling to the next location.

完成一个半寸的孔后开始新一轮的打孔.

Initially these holes were lone blemishes,

最初这些孔只是白墙上寂寞的缺陷

and as the exhibition continued

但随着展览进行

the walls became increasingly perforated.

墙上的孔不断的增加.

So eventually holes on both sides of the wall aligned,

墙的两面的孔连接起来.

opening views from gallery to gallery.

画廊到画廊的开放视角.

Clusters of holes randomly opened up sections of wall.

这些孔随机的打开了部分的墙壁.

And so this was a three-month performance piece

这是三个月的成果

in which the wall was made into kind of an increasingly unstable element.

把这面墙搞的越来越不稳定.

And also the acoustic separation was destroyed.

听觉部分已经被破坏了.

Also the visual separation.

视觉部分也差不多.

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.

And this is one of the blackout spaces

这是一块灰暗的空间

where there's a video piece that became totally not useful.

视频块已经完全没用.

So rather than securing a neutral background for the artworks on display,

将一个中性背景当作艺术品

the wall now actively competed for attention.

这面墙的积极争取到很多眼球.

And this acoustical nuisance and visual nuisance

并且这种声学和视觉厌恶

basically exposed the discomfort of the work

基本上暴露了工作的不适

to this encompassing nature of the retrospective.

包括对自然的回顾.

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.

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.

It's the ICA -- the Institute of Contemporary Art -- in Boston,

这是在波士顿的当代艺术研究所,

which is on the waterfront.

就在江边.

And there's not enough time to really introduce the building,

我们没有太多时间来介绍这个建筑,

but I'll simply say that the building negotiates

但我要说这栋建筑

between this outwardly focused nature of the site --

外表上看着重于自然

you know, it's a really great waterfront site in Boston --

这是波士顿一处非常好的临江之地.

and this contradictory other desire to have an inwardly focused museum.

矛盾的是它内在却着重于博物馆.

So, the nature of the building is that it looks at looking --

所以, 建筑的自然特性是长相如何--

I mean that's its primary objective,

我是指基本目标.

both its program and its architectural conceit.

项目和建筑特点都是.

The building incorporates the site,

这个建筑融入了周围的环境.

but it dispenses it in very small doses

但它分解出很多很小的细节，

in the way that the museum is choreographed.

细节到博物馆的舞蹈编排上.

So, you come in and you're basically squeezed by the theater,

所以,你走进去就基本被挤到剧院里了,

by the belly of the theater, into this very compressed space

在剧院的后半部分,紧缩的空间里.

where the view is turned off.

视觉被关闭了.

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.

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.

And then, this is a view going up,

然后,视觉开始不断上升.

and then you could come into the theater,

接着你进入剧院,

which can actually deny the view or open it up and become a backdrop.

这个剧院可以开辟或拒绝这些视角,并变为一个背景.

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.

The view is denied in the galleries

景色落在剧院里

where we receive just natural light,

我们看到的自然光线

and then exposed again in the north gallery with a panoramic view.

然后转换成北面的全景图.

The original intention of this space,

这个空间的原意,

which was unfortunately never realized,

很遗憾从来没有实现过.

was to use lenticular glass

最初设计是用透镜

which allowed only a kind of perpendicular view out.

仅允许一些垂直的视角.

In this very narrow space that connects east and west galleries

在非常狭窄的空间里将东部和西部的走廊连接进来

the intention was really to not get a climax,

意图真的不是把高潮连接起来.

but to have the view stalk you,

而是让视觉跟着你走.

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.

This was eliminated because the view was too good,

因为视角太好

and the mayor said, "No, we just want this open."

而且市长说:"不, 我们只要它打开就好了."

The architect lost here.

设计师在这里迷惑了.

But culminating -- and that's where this hooks into the theme of my little talk --

但最高点 -- 这也是我把它放在演讲里的原因.

is this Mediatheque,

就是Mediatheque,

which is suspended from the cantilevered portion of the building.

就挂在大厦的悬臂部分.

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.

So, it's already sticking out into space enough,

它已经突出了足够大一部分空间了,

and then from that is this, is this small area called the Mediatheque.

突出的这一小部分空间叫做Mediatheque.

The Mediatheque has something like 16 stations

Mediatheque 有一些东西像16号站

where the public can get onto the server

公众可以登录到服务器上

and look at digital artworks or also curated artworks off the web.

查看数字艺术或策划美术作品.

And this was really a kind of very important part of this building,

这是整个建筑非常重要的一部分,

and here is a point where architecture --

这是建筑学上的一点 --

this is like technology-free -- architecture is only a framing device,

这像是不受科技所局限,建筑学仅仅是个框架,

it only edits the harbor view, the industrial harbor

它仅能编辑港口视角,

just through its walls, its floors and its ceiling,

通过墙壁,地板和天花板看到的工业港

to only expose the water itself, the texture of water,

露出的水平和水纹.

much like a hypnotic effect created by electronic snow

很像催眠效果创造的电子雪景

or a lava lamp or something like that.

或是岩浆灯之类的东西.

And here is where we really felt that there was a great convergence

这里我们真的感到了,这是一个伟大的技术合成

of the technological and the natural in the project.

也是大自然的工程.

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

Moving along to Lincoln Center.

我们接着看林肯中心(Lincoln Center),

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.

We're taking over now, doing work that ranges in scale

我们正在接管,

from small-scale repairs to major renovations and major facility expansions.

从一些小维护到大整修以及设备的扩容.

But we're doing it with a lot less testosterone.

但我们做的不是很有激情.

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.

And for the purposes of this talk,

这次演讲的目的,

I wanted to isolate just a part of a project that's even a part of a project

我希望单独讲讲一个项目的一部分.

that touches a little bit on this theme of architectural special effects,

甚至这部分附带一点建筑特效的主题,

and it happens to be our current obsession,

并且它是我们现存的困扰,

and it plays a little bit with the purging and adding of distraction.

分散了注意力.

It's Alice Tully Hall, and it's tucked under the Juilliard Building

这是Alice Tully大会堂, 就在茱莉亚大厦下面

and descends several levels under the street.

并且在街道下面有几层.

So, this is the entrance to Tully Hall as it used to be,

这里, 是大会堂在整修之前的入口,

before the renovation, which we just started.

我们刚开始整修.

And we asked ourselves, why couldn't it be exhibitionistic,

我们会问自己,为什么不让它更拉风一点呢?

like the Met, or like some of the other buildings at Lincoln Center?

像里兹大厦(the Met) 或者其它位于林肯中心的大厦?

And one of the things that we were asked to do

我们被要求的一件事是

was give it a street identity, expand the lobbies and make it visually accessible.

作为街道的标志性建筑,扩展大堂并让它在视觉上很拉风.

And this building, which is just naturally hermetic, we stripped.

并且这座大厦, 是天然密封的.

We basically did a striptease, architectural striptease,

我们基本上搞了个脱衣舞, 建筑学脱衣舞,

where we're framing with this kind of canopy --

在这个被顶篷罩住的空间

the underside of three levels of expansion of Juilliard,

背面是被茱莉亚大厦扩展出来的三个台阶,

about 45,000 square feet -- cutting it to the angle of Broadway,

大概有45,000平方英尺,与百老汇大街成一定弧度,

and then exposing, using that canopy to frame Tully Hall.

然后用Tully大会堂的顶篷.

Before and after shot. (Applause)

术前和术后对比照片.

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.

But what I wanted to do was take a couple of seconds that I have left

但我想做的是花几秒钟时间去

to just talk about the hall itself,

谈谈大会堂本身,

which is kind of where we're really doing a massive amount of work.

我们真在它上面花了大量的心血.

So, the hall is a multi-purpose hall.

这个大会堂是个多功能大厅.

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.

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.

Chamber and the notion of chamber has to do with salons

会所,沙龙和小规模的表演等概念一起.

and small-scale performances. They asked us to bring an intimacy.

他们要求我们把各部分都亲密接触起来.

How do you bring an intimacy into a hall?

你如何让大会堂整体上亲密接触?

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.

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.

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.

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.

It's like a coffin, it basically sends all the sound,

它像一个棺材, 基本发送各种声音,

like a gutter-ball effect, down the aisles.

像一个球掉进沟里的效果.

The walls are made of absorptive surface,

墙壁的表面是吸收材料,

half absorptive, half reflective,

半吸收半反射型,

which is not very good for concert sound.

对于音乐会的声音,效果不会太好.

This is Avery Fisher Hall, but the notion of junk -- visual junk --

这是Avery Fisher音乐厅,但垃圾概念,视觉垃圾

was very, very important to us, to get rid of visual noise.

对我们非常非常重要, 摆脱掉视觉杂物.

Because we can't eliminate a single seat,

因为我们不能拆掉座位,

the architecture is restricted to 18 inches.

建筑被限定为18英寸.

So it's a very, very thin architecture.

所以它是非常非常薄的建筑.

First we do a kind of partial box and box separation,

首先我们一个盒子一个盒子的分开,

to take away the distraction of the subway noise.

用于消除地铁的噪音.

Next we wrap the entire hall -- almost like this Olivetti keyboard --

然后将整个大厅包起来 -- 像极了Olivetti 键盘 --

with a material, with a wood material

带一些材料,木质材料

that basically covers all the surfaces:

基本覆盖所有的墙面:

wall, ceiling, floor, stage, steps, everything, boxes.

脑子基本不转, 请检查之前翻译质量.

But it's acoustically engineered to focus the sound into the house

但是声学工程会关注房屋里的声音

and back to the stage. And here's an acoustic shelf.

以及返回舞台的声音,并且这是一个音响架.

Looking up the hall. Just a section of the stage.

看大厅的上方.只是舞台的一部分.

Just everything is lined, it incorporates --

只是把所有东西对齐,它包括 --

every single thing that you could possibly imagine

你能想像到的任何一样东西

is tucked into this high-performance skin.

都可以塞进高性能的外壳中.

But one more added feature.

但还有一个功能.

So now that we've stripped the hall of all visual distraction,

所以我们解除了大会堂所有的视觉分散点,

everything that prevents this intimacy

任何影响"亲密接触"的东西,

which is supposed to connect the house, the audience,

我们要把建筑,观众和表演者们连接起来,

with the performers, we add one little detail,

亲密接触,

one piece of architectural excess, a special effect: lighting.

建筑学的一种特效: 灯光.

We very strongly believe that the theatrics of a concert hall

我们坚信,音乐厅的戏剧表演艺术

is as much in the space of intermission and the space of arrival

跟中场休息时

as it is when the concert starts.

以及和音乐会开场时一样.

So what we wanted to do was produce this effect,

所以我们希望制造这些 -- 这种效果,

this lighting effect,

灯光效果,

which made us have to bioengineer the wood walls.

我们有生物工程的木墙.

And what it entails is the use of resin, of this very thick resin

我们需要用到树脂,非常厚的树脂

with a veneer of the same kind of wood that's used throughout the hall,

这些树脂外表像木头一样用于整个大会厅,

in a kind of seamless continuity

无缝的连接在一起

that wraps the hall in light, like a belt of light: rather than separating,

把大厅包转在光线上,像皮带一样的光线,而不是分开的,

like a proscenium would separate the audience from performers,

像一个舞台区分观众和演员

it connects audience with players.

它连接着听众和演奏者.

And this is a mockup that is in Salt Lake City

这是一个盐湖城的模型

that gives you a sense of what this is going to look like in full-scale.

给你一个整个规模的概念.

And this is a guy from Salt Lake City,

这是一个来自盐湖城的男孩,

this is what they look like out there.

这是他们从外面看起来的样子.

(Laughter)

(笑声)

And for us, I mean it's really kind of a very strange thing,

对于我们,我认为这确实是怪异的东西,

but the moments in the hall that the buzz kind of dies down

可是在音乐厅听到嗡嗡声杂音变弱的时刻

when the audience is waiting for the performance to begin,

当观众们坐好期待着表演开始的时刻,

very similar to the parting of curtains or the raising of a chandelier,

感觉特别像幕布掀开或烛台升起的时刻,

the walls will just exude this glow, temporarily stealing attention from the stage.

这面墙开始激情四溢的获取台下所有观众的注意力.

And this is Tully in construction now.

这就是现在Tully的建筑.

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.

Thank you very much.

非常感谢.

(Applause)

(掌声)