The design genius of Charles + Ray Eames

譯者: Jeannie Cheng 審譯者: Shelley Krishna Tsang

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

查爾斯和蕾是一夥的。他們是一對夫婦。

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

儘管《紐約時報》和《名利場》最近盡了最大的努力，

they're not brothers. (Laughter)

他們還經常被誤認為兄弟。

And they were a lot of fun.

他們相當幽默。

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

你知道，蕾是那個在家庭照中畫上符號「&」的人。

(Laughter)

(笑)

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

今天我們會集中在查爾斯身上。因為今年是查爾斯一百歲的冥壽。

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

但當我講述他時，其實我是以他們兩個人作為一個整體。

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

這是查爾斯三歲的時候。在今年六月他快要一百歲了。

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

我們將會有很多很酷的紀念活動。

The thing about their work

與他們相關的工作

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

大部份人都會想起傢俱 --

I suspect you probably recognize this chair

我估計你們大概認出這張椅子

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

及一些我將為大家展示的物品。

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

但我們將從「Big Top」的門口進發。

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

關於它，說到底，你們會問，為什麼我要展示這個?

Is it because Charles and Ray made this film?

是因為這是查爾斯和蕾所製作的影片嗎?

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

這其實是一個為小丑學校而製作的培訓影片。

They also practiced a clown act when the future of furniture

當傢俱的將來沒有比現在般興盛，

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

他們也曾練習小丑的動作。

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

這是查爾斯的照片。我們看看下一段影片。

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

我們接著看的影片是為莫斯科世界博覽會而製作。

Video: This is the land.

(影片) 這是一片地。

It has many contrasts.

它有很多的對比。

It is rough and it is flat.

有崎嶇的，也有平坦的。

In places it is cold.

有地方是寒冷的。

In some it is hot.

有些是炎熱的。

Too much rain falls on some areas,

有些地方下很多雨水。

and not enough on others.

有些地方就不夠。

But people live on this land.

但人們生活在這片地。

And, as in Russia,

如同在俄羅斯，

they are drawn together into towns and cities.

他們聚集在小市鎮和城市中。

Here is something of the way they live.

這是一些他們的生活方式。

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

伊默斯·德米特里：現在，這一段影片差不多從未在美國看過。

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

它是七個畫面組合成，有200呎闊。

And it was at the height of the Cold War.

那時正值冷戰高峰期。

The Nixon-Khrushchev Kitchen Debate

尼克森和赫魯雪夫的『廚房辯論』

happened about 50 feet from where this was shown.

在這段影片約50呎以外的地方展開。

And yet, how did it start?

但它是如何開始呢?

You know, commonality, the first line

你知道，大同，

in Charles' narration was,

查爾斯在影片中的第一句的旁白

"The same stars that shine down on Russia

「照耀著蘇聯的星星同樣地

shine down on the United States. From the sky,

照耀著美國。從天空中，

our cities look much the same."

我們的城市看起來是相同的。」

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

查爾斯和蕾總在事物中尋找人性的相通性。

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

你可以想像，他們倆當時，

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

相信人類的思想能夠應付多幅影像，

because the important thing was to get the gestalt

因為最重要的是在看這些圖像的時候，

of what the images were about.

他們可以找尋某一刻的頓悟。

So that was just a little snip.

這只是一小節。

But the thing about Charles and Ray

再說查爾斯和蕾，

is that they were always modeling stuff.

他們經常製作模型。

They were always trying things out.

他們經常嘗試新事物。

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

我想其中一樣我熱愛的事就是:我祖父母的作品。

I'm passionate about my work,

我熱愛我的工作。

but on top of all that I'm passionate

但在我最為熱愛的東西

about a holistic vision of design,

是設計時的整體視覺，

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

把設計當成生活技能，而不是專業技術。

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

你知道 我們那些有孩子的人常常希望孩子學點音樂。

I'm no exception.

我也不例外。

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

但並不是要孩子成為博諾（U2樂隊主唱） 或 崔西查普曼。

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

而是讓孩子的頭腦和思考中有音樂的概念。

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

設計也是一樣。設計也應如此。

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

這就是他們為那次七個屏幕的展示所製作的模型。

And Charles just checking it out there.

而查爾斯正在調試著。

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

現在我們來談談傢俱。

This is an unusual installation of airport seating.

這是一個不尋常的機場座位裝置。

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

現在我們會看看一些伊默斯傢俱中的經典作品。

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

提起傢俱，他們說設計師的角色

was essentially that of a good host,

最重要是成為一個很好的東道主，

anticipating the needs of the guest.

去預計客戶的需要。

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

那些是很酷的圖像。但我認為這些更酷。

These are all the prototypes. These are the mistakes,

這是全都是原型。這些是錯誤。

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

雖然我不認為錯誤是設計中一個合適的字。

It's just the things you try out

這只是你嘗試，

to kind of make it work better.

為的是越做越好。

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

你知道有一些可能是很糟糕的椅子。

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

有一些有很酷的樣子。好像是:「嗨，為何他們不試試那些?」

It was that hands-on iterative process

這是一個反覆嘗試親自動手的過程

which is so much like vernacular design

就好像本土的設計

and folk design in traditional cultures.

和在傳統文化的原始設計。

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

而我想這是現代設計和傳統設計的共通點之一。

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

我想在未來二十至三十年內，

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

在我們想出如何自處的事情上，它們有著共同基礎。

The other thing that's kind of cool is that

第二樣很酷的東西就是

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

當你看著這些，而在媒體上當人們談及設計，

they actually mean style.

他們其實指的是風格。

And I'm really here to talk about design.

而我在這裡確實是講述"設計"。

But you know the object is just a pivot.

但你知道這物件只是關鍵。

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

是過程與系統之間的關鍵。

And this is a little film I made

這是我所製作的短片，

about the making of the Eames lounge chair.

內容是關於 伊默斯躺椅的製作。

The design process for Charles and Ray

查爾斯與蕾的設計過程

never ended in manufacturing.

不止於生產。

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

它一直延續著。他們永遠嘗試讓物件越來越好。

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

因為這正如比爾·克林頓在有關盧旺達裡的健康診所的演說一樣。

It's not enough to create one.

去創造一所(健康診所)是不夠的。

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

你得創造一個會變得越來越好的系統。

So I've always liked this prototype picture.

因此我喜歡這個原型的照片。

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

因為它有一種你永遠找不到比這個更基本的感覺。

You try things out.

你嘗試新創造。

This is a relatively famous chair.

這是相對較有名的椅子。

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

它最初的版本有著一個交叉的底部。這是收藏家所喜愛的。

Charles and Ray liked this one because it was better.

查爾斯與蕾喜歡這個是因為這個比較好。

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

它操作更好。「H」的底部，更加實用。

This is something called a splint.

這個東西名叫藤條。

And I was very touched by Dean Kamen's

我被迪安·基曼

work for the military, or for the soldiers,

為軍隊或士兵所做的工作而感動。

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

因為查爾斯和蕾設計了一個膠合板藤條模型。就是這個。

And they'd been working on furniture before.

他們從前也製作過傢俱。

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

但他們從製造這些藤條的過程中學會很多有關製造的過程，

which was incredibly important to them.

這些對他們無比重要。

I'm trying to show you too much,

我嘗試展示很多給你們看。

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

因為我想你們真的能體會靈感和圖象的精髓。

This is a house that Charles and Ray designed.

這間房屋是由查爾斯和蕾所設計。

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

我的姐妹正在追逐某人。那個人不是我。

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

雖然我衷心贊同他偷了她的日記這個事實，但那個人不是我。

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

左下角是查爾斯和蕾製作的短片。

Now look at that plastic chair.

現在看看那個塑膠椅子。

The house is 1949.

那間房子是一九四九的。

The chair is done in 1949.

那個椅子也是於一九四九年完成。

Charles and Ray,

查爾斯和蕾，

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

他們沒有為風格而風格。

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

他們沒有說: 「我們的風格是波浪的。那麼我們把房子也設計成波浪吧。」

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

他們沒有說: 「我們的風格是格形的。那麼我們把椅子也設計成格子形狀。」

They focused on the need.

他們集中在需求方面。

They tried to solve the design problem.

他們嘗試著解決設計的問題。

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

查爾斯曾經說: 「你越有設計風格

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

越說明你沒有解決設計上的問題。」

It's kind of a brutal quote.

這是一個很大胆的引述。

This is the earlier design of that house.

這是那間房子較初期的設計。

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

而再一次他們能夠找一個方法去製造一個樣板屋

of a house -- architecture, very expensive medium.

建築是一個非常昂貴的媒體。

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

這套短片就是你們所聽到的

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

"Powers of 10" 就是他們所製作的位片段

If we watch the next clip,

如果我們看看下一段影片

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

你們會看見"Powers of 10"的第一個版本出現在左上方

The familiar one on the lower right.

最熟悉的在右下方。

The Eames' film Tops, lower left.

伊默斯的影片Tops，在左下方。

And a lamp that Charles designed for a church.

而那是查爾斯為教堂所設計的燈

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

（影片）：輪到那一個屬於本土星宿

These form part of a grouping system

它們形成一個團隊系統

much as the stars do.

就好像星星一樣。

They are so many and so varied that from this distance

它們從這個距離是如此的多及不同

they appear like the stars from Earth.

它們好像在地球看到星星一樣。

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

（ED）：你看過這套影片 它是何等偉大呢

whole conference is that everybody has been talking about scale.

整個會議所有人都正在談及尺度。

Everybody here is coming at it from a different way.

每個人展現尺度的方式都不同。

I want to give you one example.

我想給你們一個例子。

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

E. O. 威爾遜有一次向我說當他觀看螞蟻時 --

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

他喜歡牠們, 當然, 他很想知道牠們多一些 --

he consciously looked at them from the standpoint of scale.

他又意識地從尺度方面去看螞蟻。

So here is the tiny creature.

這是一個細小的生物。

And yet simply by changing the frame of reference

而只要稍微改變一下角度

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

就能反映很多，包括最終得到 TED 大獎。

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

模型，他們經常做模模型。他們經常把事物做成模型。

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

我想部份原因是他們從沒支配觀念。

And I think in our family we were very lucky,

我感覺我的家庭很幸運。

because we learned about design backwards.

因為我們是倒過來學設計的。

Design was not something other.

設計不是別的。

It was part of the business of life in general.

它是日常生活的一部份。

It was part of the quality of life.

它是生活質素的一部份。

And here is some family pictures.

這是一些家庭照片。

And you can see why I'm down on style, with a haircut like that.

你們會知道為什麼我不主張風格，有一個這樣的髮型。

But anyway, (Laughter)

但無論如何，(笑)

I remember the cut grapefruit that we would have at the Eames house when I was a kid.

我還記得我小時候到伊默斯家一起去切葡萄柚的情景。

So we're going to watch another film.

我們看看下一段片段。

This is a film, the one called Toys.

這套影片名叫"玩具"。

You can see me, I have the same haircut, in the upper right corner.

你看見我，一樣的髮型，在右上方。

Upper left is a film they did on toy trains.

左上方在一段他們拍攝玩具火車的片段。

Lower right is a solar do-nothing toy.

右下方是一個沒有任何功能的太陽能玩具。

Lower left is Day-of-the-Dead toys.

左下方有"Day-of-the-Dead"玩具。

Charles used to say that toys are not as innocent as they appear.

查爾斯經常說玩具不像它們看起來那樣單純。

They are often the precursor to bigger things.

它們時常領導一些大事情。

And these ideas -- that train up there, being about the honest use of materials,

這個概念 -- 在那個火車上,最誠實地運用了物料，

is totally the same

也是完全

as the honest use of materials in the plywood.

跟很誠實地用膠合板一樣。

And now I'm going to test you.

現在讓我考考你們。

This is a letter that my grandfather sent to my mom when she was five years old.

這是我祖父寫給那時只有五歲的媽媽。

So can you read it?

你們能讀嗎？

Lucia angel,

路西亞天使，

okay, eye.

好，眼 (我)。

Audience: Saw many trains.

(觀眾)：看見了很多火車。

ED: Awl, also, good that the leather crafter's guild is here.

ED：並且，幸好那個皮革工匠的團體在此。

Also, what is he doing? Row, rowed.

再者，他正在做些什麼? 划船，乘坐火車。

Sun? No. Well is there another name for a sunrise?

太陽? 不是。 嗯，是否有第二個名稱代表日出?

Dawn, very good.

破曉。 很好。

Also rode on one. I ...

並且，坐在其中之一。 我……

Audience: You had, I hope you had --

(觀眾)：你有，我希望你有 --

ED: Now you've been to the website Dogs of Saint Louis

ED: 現在你們到過聖路易愛犬之家的網站

in the late, in the mid-1930's,

在一九三零年代的後期，或中期，

then you'd know that was a Great Dane.

那麼你應該知道那個是大丹狗。

So, I hope you had a

所以，我希望你有個

Audience: Nice time, time --

(觀眾)：美好的時光，時間 --

ED: Time at.

ED：時光在。

Citizen Kane, rose --

Citizen Kane (地方名稱)， 玫瑰 --

Audience: Rosebud.

(觀眾)：玫瑰花蕾。

ED: No, bud. "D"'s right. At Buddy's --

ED：不，花蕾。 D 是正確。 在朋友的 --

Audience: Party. Love.

(觀眾)：派對。 愛你的。

ED: Okay, good.

ED: 可以了。很好。

So, "I saw many trains and also rode on one.

所以全文就是，“我看見很多火車亦坐在其中之一。

I hope you had a nice time at Buddy's party."

我希望你在朋友的派對中有一個美好的時光。”

So you guys did pretty good, cool.

你們做得非常好，很酷。

So my mom and Charles had this great relationship

我媽媽和查爾斯有這個良好的關係

where they'd send those sorts of things back and forth to one another.

他們經常互相傳遞這些東西。

And it's all part of the, you know,

這些都是所謂的，你知道，

they used to say, "Take your pleasure seriously."

他們曾說的：”認真享受樂趣。”

These are some images from a project of mine

這些是我的一個計劃的照片

that's called Kymaerica.

它們叫”流紋岩音頻“。

It's sort of an alternative universe.

它們可以說是另類的宇宙。

It's kind of a reinterpretation of the landscape.

它是一種對風景的從新演繹。

Those plaques are plaques we've been installing around North America.

那些銘牌是我們把它在北美到處安裝。

We're about to do six in the U.K. next week.

我們下星期會在英國安裝六個。

And they honor events in the linear world from the fictional world.

它們記念著在虛構的世界中所發生的事情。

So, of course, since it's bronze it has to be true.

當然，因為它們用銅製造所以它是真確的。

Video: Kymaerica with waterfalls,

(影片)：流紋岩音頻的瀑布，

tumbling through our --

翻滾在我們的 --

ED: This is one of the traditional Kymaerican songs.

ED: 這是一個流紋岩音頻的傳統歌曲。

And so we had spelling bees in Paris, Illinois.

而我們在伊利諾州巴黎有一個串字大賽。

Video: Your word is N. Carolina.

(影片)：你的生字是北卡羅來納州。

Girl: Y-I-N-D-I-A-N-A.

(女孩): Y - I - N - D - I - A - N - A

ED: And then Embassy Row is actually a historical site,

ED: 而「使館行」實際上是一個歷史地標。

because in the Kymaerican story

因為在流紋岩音頻的故事裡

this is where the Parisian Diaspora started, where there embassy was.

那就是巴黎人大流散的發源地，就是那個使館所在。

So you can actually visit and have this three-dimensional

你可以實地參觀享受立體的

fictional experience there.

虛擬經歷。

And the town has really embraced it.

而那個城鎮對此非常喜歡。

We had the spelling bee in conjunction with the Gwomeus Club.

我們與Gwomeus Club 有一個串字比賽。

But what is really cool is that we take our visual environment

但最酷的事情是我們把視覺環境

as inevitable. And it's not.

成為必然。 其實不然。

Other things could have happened. The Japanese could have discovered Monterey.

其他事情可能發生。 日本人可能發現蒙特瑞。

And we could have been born 100,000 years ago.

而我們可能於十萬年前出生。

And there are a lot of fun things. This is the Museum of the Bench.

世上有很多有趣的事情。 這是長椅子博物館。

They have trading cards

他們有交換卡片。

and all sorts of cool things.

以及很多很酷的東西。

And you're kind of trapped in the texture of Kymaerica.

你們可以有一種被困在流紋岩音頻的感覺。

The Tahatchabe, the great road building culture.

Tahatchabe, 有一個很偉大的道路建築的文化。

A guy named Nobu Naga,

有一個男子名叫織田信長，

the so-called Japanese Columbus.

亦稱為日本哥倫布。

But now I'm going to return you to the real world.

我現在將帶領你們回到真實世界。

And this is Cranbrook. I've got a real treat for you,

這個是Cranbrook。 我有個驚喜給大家。

which is the first film that Charles ever made.

就是查爾斯製作的第一部影片。

So let's watch that. Nobody's ever seen it.

那麼我們一起看吧。從來沒有人看過呢。

Cranbrook is very generous to let us show it for the first time here.

Cranbrook 非常慷慨讓我們在這裡首次播放。

It's a film about Maya Gretel, a famous ceramicist, and a teacher at Cranbrook.

它是有關Maya Gretel的影片。她是一位有名的陶瓷藝術家，亦曾在Cranbrook任教。

And he made it for the 1939 faculty exhibition.

而查爾斯是為一九三九年的系展而作。

Silent. We don't have a track for it yet.

無聲的。我們還沒有加上音軌。

Very simple. It's just a start. But it's that learn-by-doing thing.

很簡單。這只是一個開始。但這代表"學由做起"的概念。

You want to learn how to make films? Go make a movie.

你想學怎樣製作影片嗎? 那麼就製作一部影片吧。

And you try something out.

你嘗試把它製造出來。

But here is what's really great.

這就是最厲害的。

See that chair there? The orange one? That's the organic chair. 1940.

看見那張椅子嗎? 橘黃色那個? 這是有機椅子。 一九四零年。

At the same time that Charles was doing that chair,

查爾斯在做那張椅子的同時，

he was doing this film.

他也在製作這段影片。

So my point is that this scope of vision, this holistic vision

所以我要指出的事這種寬闊的視野，對藝術的全面

of design, was with them from the beginning.

見解，是從一開始已在他們當中。

It wasn't like "Oh, we made some chairs and got successful.

而不是，"我們製作了一些椅子，成功了。

Now we're going to do some movies."

那麼現在我們去製作電影吧。"

It was always part of how they looked at the world. And that's what's really powerful.

這是他們如何觀察世界的一部份。而那是如此的具影響力。

And I think that all of us in this room, as you move design forward,

我想在座的各位，當你們推動設計時，

it's not about just doing one thing.

你們不只為作一件東西。

It's about how you approach problems. And there is this huge, beautiful commonality

而是有關你如何對付問題。這就是設計、商業和世界

between design, business and the world.

之間偉大而美麗的共同點。

So we're going to do the last clip.

我們去看看最後的影片。

And I've shown you some of the images. I just want to focus on sound now.

我已經展示了部分影像。我現在只想集中在聲音上。

So this is Charles' voice.

這是查爾斯的聲音。

Charles Eames: In India, those without, and the lowest in caste,

(查爾斯·伊默斯)：在印度，那些沒有可以吃的而又在社會地位最低的人，

eat very often, particularly in southern India,

尤其是在印度南部，很大機會，

they eat off of a banana leaf.

是用蕉葉來吃東西。

And those a little bit up the scale

而那些地位高一點兒的人

eat off of a sort of a low-fired ceramic dish.

就從這些所謂的低溫燃燒的陶器碟子上吃。

And a little bit higher, why they have a glaze

再高一點兒的人，他們的陶器就有一層叫

on a thing they call a thali.

”塔利（thali）的釉彩。

If you're up the scale a little bit more,

如果你的地位再高一些，

why, a brass thali.

就是黃銅塔利。

And then things get to be a little questionable.

然後事情開始變得有點離譜。

There are things like silver-plated thalis.

有些東西像鍍銀的塔利。

And there is solid silver thalis.

還有純銀塔利。

And I suppose some nut has had a

我猜想還有些人

gold thali that he's eaten off of.

用金做的塔利。

But you can go beyond that.

甚至更誇張也有可能。

And the guys that have not only means,

這些傢伙不但有財產，

but a certain amount of knowledge and understanding,

亦有某程度的知識及思想，

go to the next step, and they eat off a banana leaf.

而再進下一步，他們用蕉葉來吃東西。

And I think that in these times

我經常想

when we fall back and regroup,

當我們放下自己，再重新結合，

that somehow or other,

或可能，

the banana leaf parable

蕉葉的寓言

sort of got to get working there,

能某程度可行。

because I'm not prepared to say

因為我沒有準備說

that the banana leaf that one eats off of

那些用蕉葉來吃的

is the same as the other eats off of.

跟用其他來吃的是相同的。

But it is that process that has happened within the man

但這是人類中所發生的演變過程，

that changes the banana leaf.

將蕉葉轉變。

ED: I've been looking forward to sharing that quote with you.

ED: 我期望與大家分享以下的引言。

Because that's part of where we've got to get to.

因為這是我們所達到的。

And I also want to share this one.

我亦想分享這個。

"Beyond the age of information is the age of choices."

”資訊時代之後就是選擇的時代。“

And I really think that's where we are.

我確實相信我們正處身其中。

And it's kind of cool for me to be part of a family

我感到榮幸可以成為這個家庭和

and a tradition where he was talking about that in 1978.

他在一九七八年所說的傳統思想裡的一份子。

And part of why this stuff is important

這些之所以重要

and all the things that we do are important,

而我們所有做過的東西是那麼重要，

is that these are the ideas we need.

是因為我們需要這些點子。

And I think that this is all part of surrendering to the design journey.

而我想這是因為聽任於設計的旅程。

That's what we all need to do.

這是我們應做的。

Design is not just for designers anymore. It's a process. It's not style.

設計不再只是局限於設計師。這是過程。不是風格。

All that great thinking needs to really get about solving

所有偉大的思想是需要能夠確實

pretty key problems.

解決非常重要的問題。

I really thank you for your time.

我衷心感謝你的時間。

(Applause)

(鼓掌)